FRED Film Radio - English Channel

The timeless tale of betrayal and vengeance, "The Count of Monte Cristo", returned to the screen with a captivating adaptation presented at the Rome Film Fest released in Italy on RAI 1 from the 13th of January 2025. Directed by the Oscar-winning Bille August ("Pelle the Conqueror") and starring Sam Claflin ("Hunger Games", "Me Before You"), this version dives deep into the psyche of Edmond Dantès, making the classic story resonate with modern audiences.

The Greatest Revenge Story Ever Told

Bille August emphasized why "The Count of Monte Cristo" required an expansive adaptation:

"This amazing, probably the best revenge story ever told, needs eight hours to tell the full story. I could not imagine doing it in a normal feature length. It’s not just about revenge—it’s about relationships, and we spent so much time making them true and believable. That’s what engages any audience."

August also highlighted the modernity of the characters, particularly the female roles, as key to the story’s contemporary relevance.

Understanding Edmond Dantès: Sam Claflin’s Perspective

Sam Claflin brought a nuanced portrayal of Edmond, a man driven by loss and betrayal. Reflecting on his connection to the character, he said:

"I definitely couldn’t pull off a revenge as sophisticated as Edmond’s. But I understood him. Loss and grief do crazy things to people. His revenge is calculated, not just fueled by anger—it’s a response to people who continue to cheat and corrupt."

Claflin also described the emotional challenges of the role:

"This project was more of a mental struggle. Stepping into Edmond’s shoes, feeling anger and bitterness every day, was mentally exhausting. But I thoroughly enjoyed exploring this layered, complex character."

A Collaborative Cast: Jeremy Irons and Michele Riondino

The ensemble cast played a pivotal role in shaping the story. Claflin shared his admiration for Jeremy Irons, who portrayed Abbot Faria:

"Jeremy is a master. He brought so much vitality and joy when I was exhausted. He’s Obi-Wan Kenobi—wise and endlessly prepared."

He also praised Michele Riondino’s charm and comedic energy:

"Michele is a comedy genius. Watching him step into this larger-than-life role was a joy."

Modern Themes in a Timeless Tale

Bille August and Claflin believe the story remains relevant because it explores universal emotions. August elaborated:

"Revenge is timeless, but the heart of the story lies in its relationships. That’s why audiences connect—it’s about truth and human connections."

For Claflin, understanding Edmond’s journey involved reflecting on forgiveness and growth:

"I believe in second chances, but not everyone earns them. Edmond realizes his enemies haven’t reformed, and that confirms his actions. It’s not blind vengeance—it’s justice in his eyes."

A Fresh Take on a Legendary Character

Claflin acknowledged the weight of stepping into such an iconic role:

"I didn’t compare myself to past portrayals. I focused on telling the story as I interpreted it. Edmond was clear to me—a man shaped by unimaginable loss, but also by hope."

Oscar winner and three-time Golden Globe winner actress-recently-turned-director Patricia Arquette, a member of the international jury presided over by Luca Guadagnino which will decide upon the winner of the Golden Star of the 21st Marrakech International Film Festival, talks about bestowing and winning awards, and discovering films by fledgling directors – especially in light of the fact that she herself made her debut as a director last year, with "Gonzo Girl" (starring Camila Morrone and Willem Dafoe).

The "True Romance" revelation, known to be a fervent activist for women's rights, talks about healthy anger, and how every one has a part to play in the world.

Arquette also mentions the many incredible directors she has worked with – from David Lynch to Tim Burton, John Boorman and Richard Linklater, to name but a few –, reveals she is working on a memoir, and tells us how she is embracing Moroccan culture, and taking her role as a juror very seriously.

A very spirited Mamounia-set interview with actress Virginie Efira, member of the international jury of the 21st Marrakech International Film Festival.

After enthusing about the first and second feature competition and what she is sharing with her fellow-jury members discussing the films vying for the Golden Star ("an intimacy" that manifests "without sharing anything about your intimacy"), the Belgian thespian reveals a few details about a new movie reuniting her with Rebecca Zlotowski ("Vie privée"), also starring Jodie Foster. 

Efira also discusses the recently increased presence of females voices in the French film industry, and then goes on to explain that it is not so much a character that represented a turning point in her career as it was an encounter – with Justine Triet when the acclaimed French director cast her in "Victoria".   

She reminisces about the time before she became a renowned actress, and about some of the films which opened her mind when she was young, from "Mary Poppins" to Zhang Yimou's "Raise the Red Lantern", her first encounter with that "something else that makes you realise that the world is bigger than you know" being own to Martin Scorsese's ability to make a teenage girl identify with a tormented boxer.

"The Criminals" by Serhat Karaaslan is one of the projects that were included in this year's edition of the Torino Film Lab, in the  Script Lab section. We talked with the director about the premises of the story and the idea for its development, that will be helped and completed through TFlab.

An adaptation of a short film, about a young couple not free to make love, in todays Turkey

The project of " The Criminals" is an adaptation from a short film of his that Serhat Karaaslan developed based on the core of the short: a young couple do not have a place to go to make love, in todays Turkey where premarital sex is considered a crime. It is a film about youth, freedom and desire.

Eszter Angyalosy is the Head Of Studies of Series Lab, the section of Torino Film Lab dedicated to the development of tv series projects. in this talk she speaks about the ever changing world of series production and the challenges TFLab faces every edition in order to be ud dated and on the same pace with whjat the audience and the streamers are looking for.

The evolution of the series into limited short seasons and the need of escapism

Eszter Angyalosy tells us what she noticed from her privileged position as an insider of the world of tv series production: the fast changes that are happening involve the length and the structure of the productions - there are more and more limited series with one season only - that are more functional to the investments needed, and also a demand for escapism through fun and light and heartwarming themes, next to the crime and thriller ones.

In this exclusive interview conducted for Fred Film Radio, I had the distinct pleasure of engaging in a captivating dialogue with two esteemed figures in the world of cinema: Jun Lana, the Director behind the thought-provoking film "Becky and Badette," and the exceptionally talented actress, Eugene Domingo. Our conversation unfolded amidst the vibrant ambiance of the renowned 26th Far East Film Festival in Udine, an event celebrated for its fervent appreciation of Asian cinema and its ability to foster cross-cultural exchange.

As we embarked on our discussion, Eugene Domingo expressed palpable enthusiasm about her presence at the festival, highlighting the profound significance of this being her fourth attendance. Her recurring participation underscored not only her personal affinity for the event but also its enduring impact as a platform for celebrating diverse cinematic voices. Jun Lana echoed these sentiments, expressing heartfelt gratitude for the warm reception they had received from audiences, noting that the festival felt like a welcoming homecoming filled with camaraderie and mutual appreciation.

The Universal Appeal of 'Becky and Badette'

Our conversation naturally gravitated towards the audience's reception of their film, with Eugene candidly admitting to feeling a twinge of nervousness surrounding its European premiere. However, any apprehensions were swiftly assuaged by the resounding laughter and enthusiastic applause that reverberated throughout the auditorium, signaling a heartening validation of their creative endeavors. Jun Lana echoed her sentiments, recounting the profound sense of relief and gratification he experienced upon witnessing the audience's genuine appreciation for their work, reaffirming their shared commitment to storytelling that resonates on a universal level.

As our dialogue delved deeper into the thematic nuances of "Becky and Badette," Eugene eloquently illuminated the multifaceted layers of the narrative, delving into its incisive exploration of societal pressures, the pervasive influence of social media, and the relentless pursuit of fame within Filipino culture. She articulated how the film's portrayal of a fabricated lesbian relationship served as a poignant commentary on the lengths individuals would go to in their quest for success, even at the expense of their authenticity and personal integrity.

Jun Lana expanded upon these thematic underpinnings, offering profound insights into the film's broader critique of the entertainment industry's insatiable demands and the toll it exacts on individuals striving for recognition. We engaged in a nuanced discussion regarding the intricate complexities of maintaining façades and the profound repercussions they can have on one's sense of identity and emotional well-being.

Philippine Cinema’s Global Future

Amidst our exploration of the film's themes, I was struck by the palpable chemistry among the cast—a testament to the genuine camaraderie and synergy fostered on set. Eugene attributed this cohesion to the invaluable guidance of Director Jun Lana and the shared commitment of the ensemble cast to authentically portray the film's characters and their complex interpersonal dynamics.

Jun Lana offered his insightful perspective on the future trajectory of Philippine cinema, emphasizing its burgeoning global presence and the burgeoning cadre of young filmmakers poised to make indelible marks on the international stage. He expressed optimism about the industry's potential to produce compelling narratives that resonate both locally and internationally, enriching the global cinematic landscape with diverse voices and perspectives.

In conclusion, I expressed heartfelt gratitude to Jun Lana and Eugene Domingo for their illuminating dialogue and commended them for their remarkable contribution to cinema. Their film, "Becky and Badette," stands as a testament to their exceptional talent and unwavering dedication to their craft, captivating audiences and sparking meaningful conversations about identity, authenticity, and the pursuit of success in the modern world.

At the Museum of Modern Art in New York, we had the pleasure of meeting Chiara Mastroianni at the opening night of the highly anticipated retrospective "Marcello and Chiara Mastroianni: A Family Affair", running from December 12, 2024, to January 5, 2025. This extraordinary celebration honors the cinematic legacy of Marcello Mastroianni and the remarkable career of his daughter, Chiara Mastroianni.

Chiara Mastroianni generously shared memories of her late father and reflected on his legacy. She mentioned that Marcello, ever modest, would likely have balked at being celebrated for his 100th birthday, preferring instead to shift the spotlight to the directors he collaborated with.

The retrospective opened with Luchino Visconti’s "Le Notti Bianche" filling MoMA's Theater 1 with movie lovers and notable personalities eager to celebrate one of the greatest actors of all time and his daughter, who keeps his legacy alive. Chiara’s intimate and moving recollections of her beloved father made the evening truly special.

A heartfelt thank-you to Sally Fisher PR for their unparalleled skill in organizing such incredible events in the city, and to the team behind the retrospective: Joshua Siegel, Curator of the Department of Film at MoMA, and Camilla Cormanni and Paola Ruggiero from Cinecittà.

The 50 Days of Cinema in Florence 2024 concludes with a day dedicated to Irish cinema, curated by N.I.C.E. – New Italian Cinema Events. In this exclusive interview, acclaimed director Luke McManus takes us behind the scenes of his remarkable documentary, "North Circular". Set along Dublin’s iconic North Circular Road, the film is a profound exploration of the area’s physical journey and the rich tapestry of stories, voices, and melodies that define its character. The documentary’s acclaim includes winning the Audience Award at the Dublin International Film Festival, underscoring its impact both locally and globally.

The Genesis of North Circular

Luke’s passion for documentary filmmaking was ignited by a vision that simmered for years. “I had an idea about making a documentary about the road... after I saw Gianfranco Ròsi’s Sacro GRA,” he reveals. However, it wasn’t until the COVID-19 pandemic prompted a closer examination of his immediate surroundings that "North Circular" truly began to take shape. This unexpected twist rekindled Luke’s desire to tell the stories of those living along the road he calls home.

A Narrative in Chapters

One of the documentary’s most poignant features is its eight-chapter structure, each focusing on different locales and themes. Luke explains his use of psycho-geography, emphasizing how moving through a city can reveal hidden narratives, much like reading a book where each street is a chapter. This innovative approach allows the documentary to act as a window into the diverse lives populating this area of Dublin, creating a vivid and multifaceted portrait of the community.

Crafting a Complex Narrative

“There is no one story,” Luke admits, crediting his editor, John Murphy, for weaving together the intricate web of experiences. Together, they crafted a documentary that feels cohesive yet richly layered, presenting a nuanced portrait of the North Circular Road and its inhabitants.

Visual Aesthetics and Historical Depth

The documentary’s visual choices—black-and-white imagery and a 4:3 aspect ratio—play a significant role in its storytelling. This aesthetic evokes a dreamlike quality and underscores the historical depth of the narratives being told. “By stripping away color,” Luke shares, “we show how the past lives in the present.” These choices honor the dignity of the subjects, presenting their stories in an intimate and significant manner.

Celebrating Community Spirit

At the heart of North Circular lies a powerful sense of community. The documentary beautifully captures the connection among the people living along this road, showcased in moments of music-making, storytelling, and shared history. This spirit resonates deeply with viewers, offering a sense of unity that transcends borders.

Universal Appeal

The documentary’s impact extends far beyond Dublin. Luke recalls moments when international audiences connected with the film’s themes. A viewer from Naples, for example, expressed gratitude for the portrayal of a chaotic yet heartwarming environment, highlighting the universal appeal of themes such as community, memory, and identity.

Authenticity and Participant Reactions

As the documentary reached its participants, Luke felt relief and joy upon their positive reactions. Their stories of resilience, struggle, and joy were captured authentically, fulfilling their expectations and further validating the film’s vision.

North Circular is more than a documentary; it is a love letter to Dublin’s North Circular Road and its people. Through its layered narrative, striking visuals, and heartfelt storytelling, the film invites audiences to reflect on their narratives and the spaces they inhabit, proving that even the most local stories can resonate on a universal scale.

A very interesting conversation with Danish-Iranian director and scriptwriter Ali Abbasi, who is a member of the international jury who will bestow the Golden Star of the 21st Marrakech International Film Festival.

The author of "Shelley" (2016), "Border" (2018, Un Certain Regard Award for Best Film), "Holy Spider" (2022, Best Actress in Cannes for Zar Amir Ebrahimi) and more recently the Cannes-premiered "The Apprentice" (2024), a keen analyst of the concept of monstruosity who has faced bans left and right with his latest films, regrets that debate about his work as a filmmaker is always brought to a political territory, and its interpretation limited by limited perceptions. 

Abbasi evokes his experience with "Holy Spider" (on an ordinary Iranian citizen turned serial killer attacking  prostitutes) and "The Apprentice" (on the ascent of a young Donald Trump), talks at length about censorship and perception, mentions the role of streamers in recent evolutions in that respect, as well as the necessity for a filmmaker to be impolite.   

On the reception of "The Apprentice" in the United States "I am disappointed and shocked, and I have been since we came out in Cannes, by the reception in the US – that the film is being considered controversial. I mean, Donald Trump is the encyclopedia entry of 'controversial' – I don’t know what’s controversial about the movie. But in a way, it also shows you the limits of a certain kind of market economy, a capitalist market… The market actually is a very efficient way of censoring itself."

On "strong men" and their rule "The one good thing about growing up in Iran is that you get a very good bullshit detector, and I can smell a 'strong man' from miles away, and Donald Trump is a 'strong man'. And the tactics of a strong man is always the same: it’s always manipulating the media, trying to model the reality and truth to the point where you don’t know what’s true and what’s not, having henchmen, psychics or whatever… As dramatic and simple as it is in 'The Apprentice', I think whatever Roy is teaching Donald is pretty effective in reality. It might not sound like it, but if you follow Khomeini's rule in Iran, it’s not very different… I don’t want to make everything relative, because yes, there is a difference between the United States and Iran, absolutely [...], but I definitely feel they [people in the US] should be worried."

On streamers and being non-controversial becoming a virtue "Now, at the age of streaming, there is an added layer of censorship, I think, in the way they do the first filtering of all that. [...] Now the virtue of not censoring is not a virtue anymore, it’s almost seen as an elitist thing – you get told 'Why do you insist on showing some things that bother people?!' –, and I think that we have gone from being the counterculture to being asshole elitists who don't want people to have fun."

On perception"When we premiered 'Holy Spider' in Cannes, the first week, we were misogynists who loved to see women suffer and being tortured, and then incidentally, the Women, Life, Freedom movement started and suddenly, people were talking to me about the movement as if I was representing the movement. The movie was the same!"

About meeting fellow-exiled Iranian filmmaker Mohammad Rasoulof in Marrakech and his latest film, "The Seed of the Sacred Fig": "It’s funny because in the festival, we’ve had so many movies that play on the same theme, which I don’t think is a coincidence, the theme being suppression of oppression… It’s very interesting: we’ve seen the Argentinian version of it, the Moroccan version of it  [...], and I think Mohammad masterfully did that! It is also very interesting that he can have empathy for the people who put him in jail and have been making his life very, very difficult. I think that’s a very courageous thing to do."

Iranian director Mohammad Rasoulof is one of the prestigious guests of the "Conversations" section of the 21st Marrakech International Film Festival, where his latest film, the Cannes-premiered and -awarded "The Seed of the Sacred Fig" (Special Jury Prize), was also at the centre of a Gala Screening.

Ahead of his masterclass at the Moroccan event, asked about his switch, in "The Seed of the Sacred Fig" , from more allegorical stories to a more direct representation of the "Women, Life, Freedom" movement – which is the crucial backdrop of the story – and about his choice to investigate, this time, a figure that directly represents the Iranian regime, the filmmaker in exile explains that it comes from his own experience of repression and persecution, and gives more details about the situation in his native country, in general and specifically for all artists, underlining that change is a slow process.

The Golden Bear-winning director (for "There Is No Evil" in 2020) tells us more about the twofold structure of the "The Seed of the Sacred Fig" and the way it evolved because of the shooting conditions. He also evokes the gap between the generations, explains some symbols in the film as well as the thriller element of the last part, and the motivations of the figure of the father. As for having a film in the race for the Oscars (as the German candidate), Rasoulof admits that it is all new to him.

On focusing directly on a father figure embodying the regime "This has all been informed and influenced by my personal situation. For fifteen years now, I’ve been confronted with censorship, I have been handed to the security services, etc. So when you go through all this process of being interrogated, of being arrested, of being put under pressure, y. When you are blindfolded and there is this interrogator behind your back, you wonder what makes the difference between him and you – Do we have different brains? Is it a biological difference? What makes him be where he is, and makes me be where I am, as an artist? –, and little by little, this interest and curiosity I’ve had for these people has allowed me to tell the story of this character, using a different entry point."