FRED Film Radio - English Channel

PODCAST | Chiara Nicoletti interviews Denis Coté, director of the film That Kind of Summer.

When he noticed that sex, sexuality and nudity were missing from french-canadian cinema, Denis Coté decided it as about time to discuss this topic through a film. And so he directed That Kind of Summer, film in competition at the 72nd Berlinale, where he explored the many nuances of women sexuality with the story of three women going to a rest home to “cure” their sexual issues. Coté’s look is never judgmental and tries to be as delicate and impartial as possible. To try and have a more truthful film, Coté surrounded himself with women, including his editor and co-writer so to avoid looking at things in a way a “white straight male with privileges” would.

That Kind of Summer : Three hypersexual women are spending 26 days in a quiet house by the lake. They are: Léonie (serious), Eugénie (impulsive) and Gaëlle aka Geisha (flirtatious). All three are here voluntarily. They are being supervised by a social worker and, less closely, by a therapist. The motto of the undertaking: “hypersexuality is not a disease”. The aim of this experiment is not to heal but rather to enable a frank exploration of different experiences, forms and extremes of desire. It all takes place half-naked and fully clothed, verbally and physically, and in imagination and reality. The fact that the project staff are, if not affected, at least a little moved, is hardly surprising and corresponds to the viewer’s situation. Unlike any other proponent of contemporary cinema, Denis Côté succeeds in creating dynamic cinematic spaces (sets, settings, constellations) in which experiences (psychological, physical, intellectual) may be seen as a game and, precisely because of this, can be used to pursue reality. Sometimes at a discreet distance, at others transgressively close, the camera swirls around the protagonists in this dance of trauma and lust. Norms are deconstructed, the present becomes tangible and the future conceivable. Cinema is – vibration.

To discover more about the 72° edition of Berlin International Film Festival, click here.

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PODCAST | Chiara Nicoletti interviews Ruben Fleischer, director of the film Uncharted.

“It’s not about the treasure but the quest and the people you share the adventure with!” : the lesson we learn thanks to Uncharted by Ruben Fleischer with Tom Holland playing the adventurer protagonist Nathan Drake. Inspired by the popular Videogame, Fleischer applied to the film all the cinematic homages and action movies rules to build the perfect combination that could talk to both the videogame fans and the blockbuster fans. In Rome to present the film with the Colisseum as a background, Fleischer also talks about how this experience on the film enriched his career as filmmaker.

Uncharted: Street-smart Nathan Drake (Tom Holland) is recruited by seasoned treasure hunter Victor “Sully” Sullivan (Mark Wahlberg) to recover a fortune amassed by Ferdinand Magellan and lost 500 years ago by the House of Moncada. What starts as a heist job for the duo becomes a globe-trotting, white-knuckle race to reach the prize before the ruthless Santiago Moncada (Antonio Banderas), who believes he and his family are the rightful heirs. If Nate and Sully can decipher the clues and solve one of the world’s oldest mysteries, they stand to find $5 billion in treasure and perhaps even Nate’s long-lost brother…but only if they can learn to work together.

To watch the trailer, click here.

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PODCAST | Chiara Nicoletti interviews Carlo Chatrian, the artistic director of the Berlin International Film Festival.

On his personal blog on the 72nd Berlinale website, artistic Director Carlo Chatrian wrote an article called “Exercises in Resistance” where he explained that Berlinale, such as other important film festivals “is the guardian of a space that is at risk of disappearing”. Reached out in the middle of the Festival, Chatrian describes the path to this year’s edition, the decision to make a on-site event and the many love stories that are told in many films selected to be programmed.

To discover more about the 72° edition of Berlin International Film Festival, click here.

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PODCAST | Chiara Nicoletti interviews Sofie Gråbøl, actress of the series The Shift.

At the 72nd Berlinale, Sofie Gråbøl is the protagonist of Lone Scherfig series The Shift, set into the undiscovered world of midwives: their job, their struggles, their essential role in every person’s birth. The actress describes her character and her work on portraying the “midwife” in a very detailed and truthful way.

The Shift : Birth is one of our few unifying experiences and its arena the maternity ward where, during a busy workday, the staff experience conflicts and heartfelt joys, while striving to be at their best. On the surface, they are full of goodwill, close-knit, often witty colleagues who understand one another better than their family. Sometimes they bow to the pressure of work and huge psychological demands. Like Head of Department Ella, who is surrounded by new life each day, while secretly wishing for her own children; but she has a hard time forming close relationships. Or pediatrician Jerry, whose marriage is falling apart, a fact his religious community is not supposed to know. They and those passing through are from all walks of life, representing all facets of society. Yet they all share this place, a venue of suspense, shame, guilt and insecurity, but also a world of triumphs, humor, trust, love and unfathomable bliss.Birth is one of our few unifying experiences and its arena the maternity ward where, during a busy workday, the staff experience conflicts and heartfelt joys, while striving to be at their best. On the surface, they are full of goodwill, close-knit, often witty colleagues who understand one another better than their family. Sometimes they bow to the pressure of work and huge psychological demands. Like Head of Department Ella, who is surrounded by new life each day, while secretly wishing for her own children; but she has a hard time forming close relationships. Or pediatrician Jerry, whose marriage is falling apart, a fact his religious community is not supposed to know. They and those passing through are from all walks of life, representing all facets of society. Yet they all share this place, a venue of suspense, shame, guilt and insecurity, but also a world of triumphs, humor, trust, love and unfathomable bliss.

To discover more about the Berlin International Film Festival, click here.

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PODCAST |Angelo Acerbi interviews Stefan Arsenijevic, director of the film As Far As I Can Walk.

Stefan Arsenijevic gives us with his As Far As I Can Walk a lesson on how one can rielaborate and refresh both the narrative of a love story and of the refugees crisis issue at the same time. Based on a traditional Serbian poem, the film translates it into the world of a couple of economic migrants from Ghana who find themselves in the complex and bureaucratic mechanism of international refugees visas. Stefan tells us he approached this story and why he chose to use the traditional poem to tell it.

As Far As I Can Walk : Strahinja and his wife, Ababuo, left Ghana at the beginning of the migrant crisis. They managed to reach Germany but were deported back to Belgrade. Strahinja works hard to secure asylum. The process, however, is lengthy and Ababuo, a passionate woman aspiring to become an actress in London, feels unfulfilled in their life. One night, a new group of Syrian refugees arrive, one of them is Ali, a charismatic left-wing activist. Ababuo the very next day, leaves Serbia with him, providing no explanation. Strahinja sets off along the Balkan migrant route for completely different reasons than anyone else: for love. Based on a true story, As Far as I Can Walk was awarded Best Film at the Karlovy Vary International Film Festival 2021.

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PODCAST | Matt Micucci interviews Edgar Pêra, director of the documentary Kinorama – Beyond the Walls of the Real.

A conversation with “unconventional” filmmaker Edgar Pêra about his latest film, Kinorama – Beyond the Walls of the Real, presented in the Harbour section of the 2021 International Film Festival Rotterdam. The documentary is a self-reflexive 3D movie reflecting upon the relation of art and the real. In this interview, Pêra shares his thoughts on the 3D filmmaking form, which he has been working with for many years, and cinema at large.

Kinorama – Beyond the Walls of the Real: is a self-reflexive 3D movie, combining images and sounds of fiction films from the past and from the future, with conversations with researchers from variegated fields, as a way to reflect upon the relation of Art with the Real, and point towards new directions for cinema, and beyond.

The post Edgar Pêra – Kinorama – Beyond the Walls of the Real #IFFR2022 appeared first on Fred Film Radio.

PODCAST | Welcome to FRED Film Radio’s new weekly show, Big FRED Tuesday – your weekly round-up of all things related to cinema, featuring news from the world of film and interviews with various international guests.

In thi sfinal episode of the Big FRED Tuesday:

– A conversation with “unconventional” filmmaker Edgar Pêra;

– A celebration of the life and legacy of Iranian filmmaker Abbas Kiarostami;

– Archive interviews with Michael Pearce and Maggie Gyllenhall;

– An appreciation of Elvis Presley’s best film, Jailhouse Rock from 1957.

The post Big FRED Tuesday – Weekly Show – 1st February 2022 appeared first on Fred Film Radio.

PODCAST | Matt Micucci interviews Anders Emblem, director of the film A Human Position.

A conversation with Anders Emblem, director of A Human Position, presented in the Bright Future section of the 2021 International Film Festival Rotterdam. In this interview, Emblem talks about the confident, contemplative style of the film and the role, the characteristic melancholia of Norway and the role of Ålesund in the movie, beyond that of the backdrop for the action.

A Human Position: Long blue hours characterise summer nights in the sleepy Norwegian port town of Ålesund. Asta is a young journalist working for the local newspaper, where she is expected to report on local sports, historic preservation, and cruise ships. It is only when she stumbles across the strange story of a refugee’s forced deportation, that she finds new meaning in her work and life.

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PODCAST | Matt Micucci interviews Pamela Hutchinson, programmer of In the Eyes of a Silent Star: The Films of Asta Nielsen. 

A conversation with Pamela Hutchinson, programmer of a retrospective on Danish silent film star Asta Nielsen, which will take place at BFI Southbank on February 3-March 15, 2022. The retrospective will take place theatricall and is titled In the Eyes of a Silent Star: The Films of Asta Nielsen. In this conversation, Hutchinson shares more info about Nielsen and the films that will be screened as part of this retrospective, and shares her thoughts on silent films in a contemporary world.

In the Eyes of a Silent Star – The Films of Asta Nielsen: A retrospective celebrating the vibrant career of Danish star of silent cinema Asta Nielsen, a performer with boundless range, unique sensitivity and unforgettably hypnotic eyes. Taking place at BFI Southbank from 3 February – 15 March, the season is programmed by film historian and writer Pamela Hutchinson and will showcase Nielsen’s incredible career, from early work such as her debut in the erotic melodrama The Abyss (Urban Gad, 1911), to her androgynous portrayal of the Danish prince in Hamlet (Svend Gade, 1921), through to her final dramatic film role, and first talkie, Impossible Love (Erich Waschneck, 1932). The season will launch on 3 February with a talk – The abc of Asta Nielsen – in which season curator Pamela Hutchinson will present an illustrated lecture on Nielsen’s life and incredible career, before she is joined by a panel of experts including the BFI’s curator of silent film, Bryony Dixon, to examine Nielsen’s performance, stardom and significance in depth. 

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PODCAST | Chiara Nicoletti interviews Norika Sefa, director of the film Looking for Venera.

Screen daily Neil Young’s review on Looking for Venera quotes: Norika Sefa’s luminous debut Looking For Venera confirms tiny Kosovo is currently on a wave”. The director, in Trieste to present her film in the official competition at the 33rd TSFF, describes this wave and her work on her debut film, a coming of age drama showing how it feels to be growning up in a big family, a patriarchic society and a small town. With a documentary approach and almost non-professional actors ( the grandma in the film is Sefa’s grandma in real life) the film follows Norika’s quest for her identity while keeping well in mind that we never stop coming of age. Looking for Venera was presented, as a project, in the co-production market When East meets West some years ago and Norika Sefa talks about the feelings of bringing it back to Trieste where it all started. 

Looking for Venera : Calm, taciturn teenager Venera lives in a small village in Kosovo. At home, three generations are constantly under one another’s feet in their cramped house, so she has hardly any privacy. Outside too, on the streets and in the café, it’s not much better: the village is small and there’s always a brother, nephew or neighbour keeping a beady eye on her. A girl is expected above all else to protect her good reputation – and that of her family. All of which makes it difficult for Venera to go her own way. Her spirits are lifted when she makes friends with rebellious Dorina, who already has a boyfriend. The two girls go out having fun together, as far as Venera’s father allows. One thing they know for sure: they don’t want to end up like their mothers. In competition at the latest Rotterdam Film Festival, where it received the Special Jury Award, Looking for Venera was selected also at Sarajevo and IndieLisboa film festivals.

To discover more about Looking for Venera, click here.

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