FRED Film Radio - English Channel

FRED Film Radio - English Channel

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FRED Film Radio - English Channel episodes

  • “Ennenum”, Interview with Director Shalini Ushadevi
    In a compelling interview at the River to River Film Festival in Florence, Shalini Ushadevi, the director of "Ennenum", explored the complex layers of her film. The story delves into the themes of love, manipulation, and immortality, using a captivating narrative to engage viewers. Ushadevi's film follows Jiva, a character who embodies life itself and sells the concept of eternal love. A key line from Jiva, "The foundation of everlasting love is manipulation," encapsulates the film’s exploration of how understanding another person can lead to both intimacy and manipulation. Ushadevi shared that this statement often elicits gasps from the audience, highlighting its profound impact.
    Film’s Setting as a Character
    The dynamics between the characters are intricately woven into the film Ushadevi's setting, a remarkable building called Churi, designed by architect Vinu Daniel.  referred to Churi as a third character, noting how its design mirrors the relationships portrayed on screen. The building’s shape and structure create a claustrophobic atmosphere, reflecting the emotional isolation experienced by the characters. Ushadevi emphasized that the architecture is essential to conveying the characters’ emotional journeys, stating, "The building encapsulates my story in a way because there are so many shapes reflecting our characters spiraling in and out.” This visual storytelling adds emotional depth, making the setting a crucial part of the narrative.
    Immortality and Love
    Ushadevi’s inspiration for Ennenum came from a 2011 project that discussed the possibility of downloading human consciousness into a chip by 2045. This sparked her curiosity about the concept of immortality. "When we think about immortality, it’s not just about us; it’s also about the people we spend infinite time with," Ushadevi noted. This led her to ask, "What is love? What is forever love?" She explained that committing to love someone forever is both significant and precarious, requiring mutual growth to maintain the meaning of the promise.
    Challenging Societal Norms in Relationships
    Ushadevi also explored societal expectations in relationships, particularly through a scene where a female character struggles with the notion that her love is conditional upon having children. This reflects a broader societal narrative that often links motherhood with worthiness in a relationship. Ushadevi aimed to challenge this simplification of love, stating, “I wanted to explore why love could not just be between two people, unconditionally without agendas.” The film questions traditional views on love and parenthood, highlighting how societal expectations shape personal relationships.
    The Significance of Mundane Moments
    One of the standout moments in Ennenum occurs when the characters revisit their first memories related to their relationships. Ushadevi described this as a reflection on the often-overlooked significance of everyday interactions. “Life is not always cinematic,” she acknowledged, illustrating that it’s often the trivial moments that hold the deepest meaning. These seemingly insignificant experiences build a stronger connection between the characters, inviting viewers to reflect on their own relationships.
    Universal Themes and Audience Reactions
    As the conversation shifted to audience reactions, Ushadevi expressed her hope that Ennenum would resonate universally. “The emotion is universal,” she said, noting that the struggles of love and connection transcend cultures and backgrounds. The reactions at various screenings, including at the Third Eye Film Festival in San Francisco, confirmed this sentiment. Ushadevi shared that audiences often engage deeply with the film, asking profound questions about love and relationships, further affirming the film’s relevance.
    For those interested in a deep exploration of love, immortality, and human connection, "Ennenum" is a must-watch. Ushadevi’s thoughtful storytelling and rich character development offer a profound and visually captivating experience. The film invites viewers to reflect on their own relationships and the nature of love, making it a powerful cinematic journey.
    18 min
  • “Everybody Loves Sohrab Handa," interview with Vinay Pathak
    At the River to River Film Festival in Florence, acclaimed actor Vinay Pathak offered an intimate glimpse into his role in "Everybody Loves Sohrab Handa". In a candid interview, he highlighted the strong connections among the cast and the film’s unique approach to portraying meaningful relationships.
    A Script Rooted in Connection
    Vinay Pathak shared his first impressions of the script, penned by his close friend and director, Rajat Kapoor. Reflecting on his reaction, he said: “It’s not about a murder. This film is not about murder. This film is about people. This film is about friends.” This sentiment underscores the narrative’s focus on human connections and shared experiences, setting the tone for the entire movie.
    Friendship On and Off Screen
    One of the film’s defining elements is the real-life camaraderie among its cast members. Vinay Pathak reminisced about how the set felt like a reunion: “Everybody in the film are actually friends in real life.” Decades of friendship translated into palpable on-screen chemistry, turning each day of shooting into a celebration filled with joy and laughter.
    Beyond the scenes, the cast bonded over shared meals and lively discussions, blending their diverse personalities. Vinay Pathak likened the experience to being back in boarding school with old friends, capturing the film’s essence as a joyous exploration of life and relationships.
    Themes of Love and Emotion
    Diving into the movie’s deeper themes, Vinay Pathak reflected on the transformative power of love. “When there is love, it changes things,” he noted, emphasizing how love shapes and complicates relationships. This emotional resonance ensures the story connects with audiences on a profound level.
    The Art of Collaboration
    Vinay Pathak credited the well-crafted script and Rajat Kapoor’s direction for his compelling performance. “If you stick to the script and if it’s a well-written script... you can’t go wrong,” he explained. The seamless collaboration between actor and director brought authenticity to the characters, enriching the storytelling.
    Efficiency and Authenticity on Set
    Filmed in just a month and a half, the production’s efficiency fostered spontaneity and a naturalistic feel. The team’s shared commitment extended beyond the set, with post-shoot gatherings further strengthening their bonds. This immersive environment allowed the cast to deliver performances rooted in authenticity.
    A Glimpse into Vinay Pathak’s World
    Outside of acting, Vinay Pathak evealed his passions for movies, music, and travel. While watching films and listening to music are daily rituals, travel holds a special place in his heart, offering opportunities to explore and connect with the world.
    A Tribute to Friendship
    As the interview concluded, Vinay’s enthusiasm for "Everybody Loves Sohrab Handa" was infectious. He described the project as a heartfelt tribute to friendship and life’s delightful chaos. The film’s joyous spirit, anchored in themes of love and camaraderie, leaves viewers reflecting on their own relationships.
    For those seeking authentic storytelling centered on friendship,  "Everybody Loves Sohrab Handa"  is a must-watch. It beautifully captures the essence of human connections, celebrating the stories woven through love, laughter, and shared experiences.
    17 min
  • “Nosferatu”, interview with actor Willem Dafoe
    "Nosferatu" by Robert Eggers, coming out in Italian cinemas on January 1st, marks the third collaboration between the director and actor Willem Dafoe. 
    Dafoe was indeed among the protagonists of "The Lighthouse" and "The Northman", the second and third film directed by the American director who made his directorial debut in 2015 with "The Witch".
    "Nosferatu" draws inspiration from both the 1922 masterpiece by F.W. Murnau and Bram Stoker’s Dracula. Dafoe plays the role of professor Albin Eberhart Von Franz, a doctor specialized in the occult, demons, vampires, creatures from above. 
    He’s the only one who’s able to cure and understand Ellen (Lily Rose-Depp), a young wife to real estate agent Thomas Hutter (Nicholas Hoult), a woman that,  since childhood, has become the object of a powerful vampire’s lustful attention and obsession.   
    As producer Chris Columbus said that Eggers’ office looked like the one of a vampirology professor, Albin Eberhart Von Franz might have been the role the director would have chosen to play himself. Basically Von Franz is Eggers and Eggers is Willem Dafoe.
    Willem Dafoe admits that there’s some truth in this affirmation and adds: “ You can say Eggers is me in the respect that I’m his creature, he sends me out and take his landscape and I like that relationship with a director”
    6 min
  • “Brief Story of a Family,” Interview with Director Jianjie Lin
    In this exclusive interview, we delve into the intricate layers of "Brief Story of a Family" with its director, Jianjie Lin. Set against the backdrop of China’s evolving societal landscape, the film explores the ambiguous intentions of its characters, particularly the enigmatic Shou. Portrayed in a way that enhances the audience's intrigue, Shou invites deep reflection and discussion. "Brief Story of a Family" won the prestigious Black Panther Award 2024 of Noir in Festival, further solidifying its impactful narrative and cinematic execution.
    Director's Journey and Festival Experience
    During our conversation, Jianjie shared his excitement about attending the festival. “It’s my first time here, and I was able to see the town a little bit earlier, walking around,” he said, giving a personal touch to the interview. This warm introduction set the stage for a discussion that blended personal reflection with insights into his cinematic work.
    Exploring the Ambiguity of Shou's Character
    One of the main themes discussed was the complexity of Shou’s character. Jianjie emphasized the character's ambiguity, which adds depth to the film's narrative. “In cinemas, you rarely see a character that is as ambiguous as this one,” he explained. Throughout the film, viewers are left questioning whether Shou is an intruder or simply a misunderstood friend. This creates a thriller-like tension that keeps the audience engaged. Jianjie’s commitment to developing a multifaceted character is evident in his extensive process, from scripting to casting, underscoring the importance of character development in storytelling.
    Overcoming Funding Challenges
    The film’s journey was not without its challenges. Due to the pandemic, funding proved to be a major obstacle, with Jianjie revealing, “The project took me many years to fund… we had co-production with Europe.” Despite these hurdles, the film was completed in 2022, with post-production work carried out in Copenhagen and Paris. Jianjie’s perseverance and dedication to the project are reflected in the film’s rich cultural elements and cinematic techniques.
    The Socio-Political Context of China
    As the film explores the aftermath of China’s one-child policy, it delves into themes of parental aspirations and the identity struggles of the only child, Wei. Jianjie noted, “This is always a struggle... I see it as a very universal conflict.” The film portrays a family under immense pressure, navigating personal ambitions and societal expectations—an issue that resonates globally.
    Casting and Chemistry
    Casting played a critical role in the film, and Jianjie spoke about the rigorous process of pairing actors to create authentic chemistry. “I screened numerous candidates, matching actors to foster a partnership that truly brought the characters to life,” he explained. Sun Qseilun and Moran Lee’s performances beautifully capture the tension between the siblings, adding emotional depth to the story.
    Visual Aesthetic and Cinematic Choices
    A key element in "Brief Story of a Family" is its visual style. Jianjie aimed for a clean, almost clinical setting that mirrors the characters’ psychological states. “It works on two levels,” he said, blending traditional Chinese elements with Western influences. This visual approach creates a striking environment that enhances the narrative. The film’s meticulous color grading emphasizes clarity, urging the audience to engage closely with every scene. “Every frame is so clean, but it also asks the audience to really look carefully,” Jianjie explained.
    Changing Perceptions of Chinese Cinema
    Finally, Jianjie reflected on the evolving perception of Chinese cinema on the global stage. He noted the shift from viewing Chinese stories as exotic to recognizing their universal themes. “I think it’s a new Chinese cinema that hasn’t been done a lot,” he said, emphasizing that while Brief Story of a Family centers on Chinese customs, its core themes resonate with global audiences. His enthusiasm for breaking stereotypes in cinema shines through as he asserts, “Whatever happens in China is not that much different from whatever happens everywhere else in the world.”
    "Brief Story of a Family" is more than just a film; it is a deep exploration of identity, family dynamics, and the pressures of cultural expectations. Jianjie Lin’s thoughtful approach to storytelling invites audiences to reflect on their own lives, creating a meaningful dialogue that transcends geographical and cultural boundaries. The film’s universal themes, coupled with its striking visual aesthetic and intricate character development, make it a must-watch for anyone interested in exploring the complexities of human relationships.
    21 min
  • "Honeyjoon", interview with the producer Alex Lo at the Torino Film Lab
    Alex Lo is the producer of "Honeyjoon" by Lilian T. Mehrel, a comedy film project included in the Comedy Lab section, born to help develop and produce international comedies. The film is the story of a kurdish-iranian mother and her American daughter making a trip  together to Azores Islands, after the passing of the father/husband. This bonding holiday will be the occasion for discovering each other.
    A comedy about women empowerment
    Alex Lo describes the narrative core of  "Honeyjoon" as a film about empowering women and have them find liberation from the restrictions and the restraints that society often impose on them. It can be described as a feminist comedy.
    4 min
  • Marrakech IFF, Conversations - An interview with director, scriptwriter and stage director Kirill Serebrennikov
    Ahead of the "Conversation" that brings him to the 21st Marrakech International Film Festival, exiled Russian director Kirill Serebrennikov sat down with us at the Mamounia for a chat, during which comically, we were gradually joined by several persistent buzzing insects – however not flies, but bees.
    Asked about his background in theatre and scenography, and how it influenced the extremely sensorial, palpable dimension of his films, where he abolishes the screen as a flat surface and a separation from the public by playfully manipulating it as a material with volume, the filmmaker behind "Leto" (2018), "Petrov’s Flu" (2021), "Tchaikovsky’s Wife" (2022), and "Limonov: the Ballad" (2024), to name only his latest works (all selected in competition in Cannes), assures that those two passions of his are completely separate – two opposite sides, "like Jekyll and Hyde" – and that the way he envisages his cinematic gesture is very much anchored in a reflection on this specific medium.
    As for the long, mesmerising uncut shots he is known and admired for, the former triple winner in Locarno (for "Yuri’s Day" in 2008) explains that they allow for more truth, because there can't be any pretending.
    We talk about the very intricate, agitated, and elusive "Limonov", which Serebrennikov says was "one of the most complex projects" of his life – in part because of the shooting conditions, marked by displacement. On dealing with this very controversial figure, and "bad guys" in general, the director says it is essential to be able to see their humanity, which he often approaches through one specific facet or aspect.
    After briefly introducing his upcoming film, "The Disappearance of Josef Mengele", Kirill Serebrennikov also offers some titbits on his next project, in French and produced in France, less dark, which he describes as "a love story", but about his love of photographers.
    15 min
  • Marrakech IFF, an interview with director and screenwriter François Ozon
    Acclaimed French director François Ozon, whose incredibly versatile and prolific career is the focus of one of the captivating Conversations curated by the 21st Marrakech International Film Festival, sheds light on what has guided him through his formidable, and formidably multifaceted career since his first short films and his debut feature "Sitcom" (1998). The author of "Under the Sand" (2000), "Swimming Pool" (2003), "Potiche" (2010), and "By the Grace of God" (2019), to name but a few, explains how he relies on his instincts and how he knew very early on he wanted to be a filmmaker.
    Ozon, a regular at Cannes, Berlin, and the European Film Awards, winner of the Golden Shell in San Sebastián for In the House (2012), reminisces about the shooting of 8 Women (2002) and his classes with Éric Rohmer, whose awareness of production-related matters he retained as a crucial lesson for the rest of his own career. He also underlines the virtues of trying one's hand at short film first, to give one's cinema solid foundations.
    On frequently exploring the female universe
     "Maybe it’s a way to hide myself, you know. One of my first films, Under the Sun, was about a fifty-year-old woman. The film was about my own experience, about grief, and working with a fifty-year-old woman like Charlotte Rampling gave me the opportunity, maybe, to show  more easily some very personal things. Because I’m not the kind of director who makes autobiographical movies – I need to keep a kind of distance, and maybe with women, it’s easier for me."
    On the first film experience which changed his life
    "It was Roberto Rossellini's Germany, Year Zero. I saw the film when I was eight years old, on television, on the programme 'Cinéma de minuit', at midnight, although my parents had said no... The films I used to watch were Walt Disney movies, films for children, and at this moment, for the first time, I was watching a film for adults, but about a young boy who was my age, and suddenly, I discovered that cinema could be something else, other than entertainment, and I was so deeply touched by this young boy who tries to survive in the ruins of Germany, and at the end commits suicide. It was so powerful, so disturbing, but I loved it! I think it is at this moment that I realised that cinema could be something else, and I think my desire to make movies unconsciously started at this point."
    13 min
  • "I'm Still Here", an interview with director Walter Salles
    Brazilian director Walter Salles is one of the prestigious guests of the "Conversations" section of the 21st Marrakech International Film Festival, where his latest film, the magnificent "I'm Still Here" was also at the centre of a Gala Screening.
    The masterclass, moderated by Jean-Pierre Lavoignat, truly delightful and captivating, was illuminated by the humanistic elegance and profound gentleness of the artist as well as the genuine excitement with which he approaches every moment of the process of making movies, always hoping to be surprised and willing to take risks.
    Following the "Conversation" and in light of it, we met the author of the Golden Bear-, Golden Globe- and BAFTA-winning film "Central Station" (1998) to discuss the both galvanising and heartbreaking "I'm Still Here" which after its successful premiere at the last Venice Film Festival (topped by a Best Screenplay Award), won popular acclaim and broke records in his country, besides being nominated for two Golden Globes and selected as the Brazilian entry for the upcoming Oscars.
    Asked about the twelve years separating his last fiction film, "On the Road" (2012), from I'm Still Here, Walter Salles, whose work has often featured some form of "quest" (as he said himself at the masterclass), confides about his need to go back to documentary now and again and reflects on cinema and the times and synchronicity.
    The film being based on Salles' own experience of coming back to Brazil at 13 to a dictatorship, and knowing personally the wonderful family depicted in it, he describes the brutality of the contrast between the love and playfulness of this family, as well as the inherent vitality of youth and of the 70s and the implacable oppression, two opposites which were "cohabitating" at the time. He says he wanted to convey it as sensorially as possible, being that he operates in the realm of memory, both personal and collective, as his friend Marcelo Rubens Paiva does in his book Ainda Estou Aqui (2015) on the disappearance of his father Rubens Paiva, of which the film is an adaptation. Salles also praises the "emotional intelligence" of his lead actress Fernanda Torres (daughter of Fernanda Montenegro, the lead of Central Station, who appears here at the end as an older Eunice Paiva) and the way in which she embodied the resilience and determination of the character of Eunice.
    The Rio de Janeiro-born director points out that he specifically wanted to make the public really feel the joy, in all its textures, and share in the music and the dances of the effervescent 70s, before the fateful moment of the arrest, the better to completely steep the viewer into the shock and other overwhelming emotions felt by his characters.
    We also talk about melding facts and film, about the photographies of the real protagonists in the end credits, about still inhabiting a space now empty, about the choice Salles made of shooting on film...
    17 min
  • The Order", an interview with director Justin Kurzel
    Australian director Justin Kurzel, famed for the 2015 Palme d'Or contender "Macbeth and True History of the Kelly Gang" (2018), amongst others, most recently saluted in competition in Cannes for "Nitram" (2021), which owed his actor Caleb Landry Jones an interpretation prize in Cannes, tells us more "The Order", premiered in competition in Venice, which just opened the 21st edition of the Marrakech International Film Festival, where the director is also a guest of the masterclass section Conversations.
    The Jude Law-starrer, based on the non-fiction book "The Silent Brotherhood" by Kevin Flynn and Gary Gerhardt (1989), also produced by the British actor, is Kurzel's first U.S.-set feature, and this time, rather than depict retrospectively the genealogy of a rampage, it deals with a neo-nazi organisation with an implacable plan of action which follows, as a blueprint, William Luther Pierce's infamous novel "The Turner Diaries", which also inspired the invasion of the Capitol after the 2020 election.
    The Aussie filmmaker reveals how he encountered this story and explains why he likes working from real events and/or books exploring said events. He also breaks down the dynamics between the FBI agent played by Jude Law and the frighteningly determined white supremacist embodied by Nicholas Hoult.
    We also talk about the role of women in this film and his work in general, the muted, claustrophobic cinematography he chose to depict this story, and the omnipresence of blood on his male characters not as a genre ingredient, but as an indicator of tragedy.
    13 min
  • “The Order”, an interview with director Justin Kurzel

    Australian director Justin Kurzel, famed for the 2015 Palme d’Or contender “Macbeth and True History of the Kelly Gang” (2018), amongst others, most recently saluted in competition in Cannes for “Nitram” (2021), which owed his actor Caleb Landry Jones an interpretation prize in Cannes, tells us more “The Order“, premiered in competition in Venice, which just opened the 21st edition of the Marrakech International Film Festival, where the director is also a guest of the masterclass section Conversations.

    The Jude Law-starrer, based on the non-fiction book “The Silent Brotherhood“ by Kevin Flynn and Gary Gerhardt (1989), also produced by the British actor, is Kurzel’s first U.S.-set feature, and this time, rather than depict retrospectively the genealogy of a rampage, it deals with a neo-nazi organisation with an implacable plan of action which follows, as a blueprint, William Luther Pierce‘s infamous novel “The Turner Diaries“, which also inspired the invasion of the Capitol after the 2020 election.

    The Aussie filmmaker reveals how he encountered this story and explains why he likes working from real events and/or books exploring said events. He also breaks down the dynamics between the FBI agent played by Jude Law and the frighteningly determined white supremacist embodied by Nicholas Hoult.

    We also talk about the role of women in this film and his work in general, the muted, claustrophobic cinematography he chose to depict this story, and the omnipresence of blood on his male characters not as a genre ingredient, but as an indicator of tragedy.

    The post “The Order”, an interview with director Justin Kurzel appeared first on Fred Film Radio.

    13 min

About FRED Film Radio - English Channel

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Welcome to FRED’s channel in ENGLISH. Are you a film lover / a film buff / a filmmaker / an actor / a film critic / a journalist / a film student / a festival organizer / a producer / a distributor /…

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