FRED Film Radio - English Channel

Martina Tonarelli interviews Victor Courgeon, French 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.

For the past three years, Victor Courgeon have been working for the Cinéma Le Méliès in Montreuil, in charge of the audience development, communication and also part of the programming team.

This is the interview in french:

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Laura Della Corte interviews Dimosthenis Kontes, Greek 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.

Dimosthenis Kontes works as a sales manager, materials coordinator and overall member of Pluto Film, he am in charge of: dealing with distributors from all mediums and territories and communicating regarding licensing, distribution planning, marketing campaigns and financial results.

Listen to the interview in greek:

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Martina Tonarelli interviews Gregor Valentovic, Slovakian 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.

Gregor Valentovic works as filmmaker and now he is finalising his first feature film “27”.

Listen to the interview in slovak:

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Alex Ross Perry for “Pavements” started from the fact that for all bands of a certain level and success there comes a time of celebration into a film: the market demands it, commercial logic demands it and the fans also demand it and expect it. For Pavement too, the time had come, but they didn’t want a classical structure, to stand in front of the camera and tell their story. So we invented a new format of musical storytelling.

for “Pavements“Alex Ross Perry and the band had invented a parallel world where success was planetary, they were idolised and celebrate in biopics, museums and endless tours. When by 2022 all this started to happen for real, the grotesque part of the film was overtaken by reality: the band had become bigger and more famous than anyone could have imagined.

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“TWST – Things We Know Today“, the documentary by Andrej Ujica, Out of Competition at the Venice Film Festival, starts from the Beatles’ arrival in New York for the famous concert at Shea Stadium in 1965. From there, an account of America in those years unfolds, through the study of a planetary social phenomenon such as the success of the British band.

The idea was to tell the story of that weekend before the iconic conception at Shea Stadium, to mark the moment when everything changed in the world’s perception of the Beatles and also in the realisation that that new music, that pop, was no longer just a youth phenomenon but embraced all ages.

Andrej Ujica decides to include a fictional part, of a boy writing a short film, to better crystallise what the spirit of that period was on the part of young people towards this new music that was revolutionising the world, not only music.

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In “I’m still here“, a magnificent film by Walter Salles, in competition at the Venice Film Festival, Selton Mello plays Ruben Paiva, a hero of the war against dictatorship in Brazil, a kind and loving architect who could not stand idly by in the face of what was happening in his country, and paid with his life.

Selton Mello was honoured to be able to play Ruben Paiva. He talked a lot with Marcelo Paiva, one of the sons on whose book the film is based, but had very few elements: only two photos of Ruben. So his imagination had to create the character on these few suggestions, having to be faithful and believable and remarkable.

Selton Mello is very grateful to Walter Salles for the film, not least because his relationship with the family, his knowledge of the house and Ruben’s children helped him and the other actors to perfectly tell  a piece of history with a capital H, because that is also what the film is about.

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Amos Gitai also uses this philosophy of filmmaking in “Why War“, which he found it necessary to build and  make after the events of October last year that once again created an explosive and unstable situation in the Middle East, where visionless and unscrupulous politicians seek absolute victory, which does not exist for anyone, in a war.

Amos Gitai is convinced that cinema should not be propaganda, but sharing ideas and personal reflections to open minds and stimulate critical thinking. There is no alternative to the use of cinema: filmmakers do not make products, but offer reflections.

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“Apocalypse in the Tropics ” is a documentary by Petra Costa, presented Out of Competition at he 81st Venice International film Festival. The film is an analytical account of the rise of right-wing power in Brazil, with Bolsonaro and the fundamentalist church, and the reflection of this trend in the world, using Brazilian events as a universal mirror.

Petra Costa, with the title “Apocalypse in the Tropics “, wanted to present the double meaning of the term: on the one hand, disaster and the end of everything, but on the other hand, according to the meaning in Greek, which is ‘revelation’, to remove the veil and discover what lies beneath. So: how did we get into this situation and what should we do to get out of it.

Petra Costa and Alessandra Orofino explain how at the basis of the film is the realisation that faith moves everything, even the decline of democracy. When we lose faith in democracy, new forces arise: you need to trust something and the strongest person imposes himself.

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Kevin Macdonald had the concert material and was looking for a new, unprecedented way to tell the story of John Lennon. reading an interview from that period, he was struck by the phrase: ‘when I arrived in America, I spent two years watching television’. That was the inspiration.

Kevin Macdonald tells how John Lennon on his arrival in the US felt politically committed, wanted to make a difference, to help keep Richard Nixon from being re-elected. This militant idea then faded and he only did one concert, the one we see in the film.

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Director of successful documentaries, Asif Kapadia arrives at the Venice Film Festival out of competition with “2073“, a hybrid documentary of denunciation and awareness of the state of the planet, both politically, climatically and socially. With a fictional part set in 2073, after an unspecified catastrophic event, which provides narrative support for the themes that the archive images develop.

Asif Kapadia has a background in drama, so even when he creates documentaries he does not start with images or just a theme, but starts with a character around whom he builds the narrative. Hence the choice of the fictional part that is the core, almost the authorisation to talk about the film’s major themes.

How can people be so stupid? Or how have they been tricked into believing that a choice like that was right? What are the means that power uses to distract, confuse and deceive? And it happens all over the world, in India as in Brazil. This was the seed from which ‘2073’ was born.

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