FRED Film Radio - English Channel

John Swab wanted to create a film that could not be seen as a thing of the past, he wanted “King Ivory” to be immediate, in the present, and very personal too. Hence the style: hand-held camera, almost reality TV, and many non-actors (real policemen, real drug dealers, real junkies).

James Badge Dale is proud of the work he did with John Swab. for him, the character is not just a cop and not just his point of view in the film, the film is almost voyeuristic in the way we see what happens and how the stories intertwine. The film is shot in real time and this is the strength and difference with other films on the same theme.

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Valentina Martelli is the founder and CEO of ITTV Forum, a film and  tv festival that promotes Italy as a creative and innovative system for the world’s most important content market, and underlines the importance of technology in the creative and productive process for any production in the world, fostering  collaborations and coproductions.

ITTV Forum has organised two panels at the Venice Film Festival, to confront on important topics, in preparation to the LA meetings in November. The first one was a conversation on the topic of the Rise of Women in the TV and Film Industry. The second focused on immersive futures, with a discussion on the transformative role of immersive realities

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“September 5” by Tim Fehlbaum narrates the days of the terroristic attack to the Munich Olympics, from the point of view of the sport tv crew that was forcibly the first ever to face a situation like this on tv.  That day marked a turning point for television and for the way and rules of showing news on TV. With a fast-paced, almost reality TV rhythm, the film also tackles this issue from the personal and moral point of view of the producer of the TV programme and the reporters.

Tim Fehlbaum says that “September 5” as we see it was born out of a conversation he had with Geoff Mason, the editor-in-chief who was in the studio in Munich on that day in 1972, and how they had to deal with those 22 incredible and tragic hours.

For Tim Fehlbaum, the point of view of the TV crew was the best to use for storytelling: a single space in which all the action unfolds automatically creates a superior rhythm and narrative tension; in addition, working in the media world made it easier for him to be at ease and be certain of the veracity of what he was telling.

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After premiering the first chapter in Cannes, Kevin Costner is at the 81st Venice Film Festival with “Horizon: An American Saga – Chapter 2″.

Presented out of competition, “Horizon” is the story Costner have been dreaming to direct since 1988 when he first thought about it.

At the heart of the saga is the story of the great migration across America. The struggles, determination and perseverance of those first settlers into that promise of hope and the opportunity for a new future.

The director reveals how he had always planned for the saga to be presented in each chapter, to a big festival as the fest audience has always been the best at understanding such a project.

Venice Film Festival was the festival he presented “Fandango” to and while the American audience did not fully embraced the film, the cinephile crowd in Venice was stunned and gave the film its heart.

What are the elements distinguishing Costner’s western saga from other films of the same genre? Costner doesn’t hesitate when answering : “I think movies are at their best when you see characters you can relate to. What’s unusual about this Western is that in all the storylines women are at the center”

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Bernhard Wenger‘s film “Peacock“, in competition at the Venice International Festival Critics’ Week, is an acidic, marauding comedy about appearing, adapting to please others, sacrificing one’s personality and losing oneself. The director talks with Fred Radio about it, form the inspiration to the meanings that he wanted to convey.

Bernhard Wegner was inspired for “Peacock” by an encounter with a man working for a friend-rental agency in Japan, who suffered a personality disorder as he could no longer recognise himself amidst the thousands of personas he had to take on for work. From this tragic personal story comes the fierce satire of the film.

The aesthetic choice for the film that Bernhard Wenger decided on, together with his d.o.p., was that of hyper-realism and cold perfection, which the protagonist always carries within himself (so much so that he is inept and passive in his private life) and which he transports into the fictitious lives of his characters, so much that defines him forever.

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For Errol Morris, being able to adapt Jacob Soboroff’s almost eponymous book was a unique opportunity. Of all the disasters of the Trump administration, this one, of the separation of families, was the most horrible one that could not be silenced.

Jacob Soboroff, producer and one of the voices on Errol Morris‘s “Separated“, points out that if Trump is the material and direct culprit of this abomination, all previous presidents have never exasperatingly addressed the legislative loopholes that would have allowed this to happen. From Bush, to Clinton, to Obama every president is partially responsible. Moreover, nothing has been done since the denunciation, so that legally this cannot happen again.

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Laura Della Corte interviews Esmée van Loon, Dutch ambassador at the 2024 edition of 27 Times Cinema at Venezia 81.

Over the past years this project gave the opportunity to 27 young film-lovers, selected through the cinemas of the Europa Cinemas Network, to represent each of the 27 European Countries at the Mostra Internazionale d’Arte Cinematografica.

After the project’s cancellation it’s been decided to form a smaller group of 10 young professionals of cinema chosen among the participants of the previous years, to act as jurors for Giornate degli Autori.

Esmée van Loon works as programmer at the art house cinema Lantaren Venster in Rotterdam, researching and selecting films for screening, as well as curating engaging film programs and special events. She is also a filmmaker.

Listen to the interview in Dutch

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Laura Della Corte interviews David Bakum, German ambassador at the 2024 edition of 27 Times Cinema at Venezia 81.

Over the past years this project gave the opportunity to 27 young film-lovers, selected through the cinemas of the Europa Cinemas Network, to represent each of the 27 European Countries at the Mostra Internazionale d’Arte Cinematografica.

After the project’s cancellation it’s been decided to form a smaller group of 10 young professionals of cinema chosen among the participants of the previous years, to act as jurors for Giornate degli Autori.

Since October 2022, David Bakum have built up the “Narrative Change Academy” for the Young Islam Conference in Germany, crafting a social media campaign that highlights positive narratives about Islam in Europe and conducted workshops on narratology in film, with a focus on Afro-Futurism and queer cinema.

Listen to the interview in german:

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