FRED Film Radio - English Channel

“Vacances” is an evocative documentary that spans a decade, capturing summers in a Provencal villa in France, and offering a fresh perspective on family dynamics and inherited traditions. Directed by Victoria Hely-Hutchinson, the film explores the intimate relationships between an Austrian-Hungarian countess and her family, using the villa’s timeless atmosphere as a backdrop for emotional storytelling.

The villa in Provence is more than just a setting in “Vacances“; it becomes a character shaping the narrative. Hely-Hutchinson emphasizes how the villa’s light, heat, and sensory environment create an immersive experience, a space of childhood, tradition, and familial connection. The ambient details, such as the provincial sunshine, local food, and nature, enhance the film’s universality, making the viewer feel invited into a timeless family retreat.

“Vacances” reveals how family roles persist across generations, often provoking resistance and regression. The film depicts how children and grandchildren, despite outside lives and responsibilities, revert to familiar patterns within the villa’s confines. Hely-Hutchinson notes that the physical and emotional distance allows for reflection on these cyclical relationships, exposing underlying power structures and inherited behaviors.

The authenticity of “Vacances” is heightened by its deliberate focus on the environment. The cinematic portrayal of the villa, pool, and natural surroundings embodies the atmosphere as an active character. This immersive approach invites viewers to experience the sensory and emotional weight of the setting, emphasizing its role as a space where psychological layers and family stories unfold naturally.

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In competition at the 23rd Alice nell Città, Ronan Day-Lewis presented his directorial debut, Anemone, co-written and starred by his father, actor Daniel Day-Lewis.

The film, coming out in Italian cinemas from November 6th with Universal Pictures Italy, marks Daniel Day-Lewis’s return to the big screen, 8 years after the release of Paul Thomas Anderson’s “Phantom Thread”.

Daniel Day-Lewis plays Ray, a man living in a isolated house on the northern English coast, far from everything and everyone, who receives a visit from his brother, Jim (Sean Bean) whom he hasn’t seen in a very long time. The man is bringing a letter, a call for help from Ray’s wife Nessa (Samantha Morton) about their  son Brian (Samuel Bottomley) who could benefit from his father’s return in his life.

Father and son get deeper into the themes of the film, especially the difficult relationship between brothers and the one between father and son.

Daniel Day-Lewis and his son then explain why they added the possibility, later in the film’s development, for Ray’s character of finally becoming a father for his teenage son, Brian.

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During the 20th edition of the Rome Film Fest we spoke with Michel Franco, director of “Dreams”, starring Jessica Chastain and Isaac Hernández.

The movie delves into the complex themes of physical and psychological borders, presenting raw insights on the blurred lines between love and destruction, privilege and oppression. At its core, “Dreams” explores a tumultuous relationship between a Mexican immigrant and a privileged art patron, and while their personal connection and sexual relationship is central, the story subtly exposes the broader political landscape—highlighting how nowadays borders are both geographical and psychological. Also portraying how the American Dream can today morph into a prison itself, especially for migrants forced to seek survival beyond their homeland.

“Dreams” director Michel Franco stressed the attention on how many Mexicans and other Latin Americans don’t choose to migrate; they are forced by the circumstances. The film, indeed critiques how immigrants are often exploited, becoming merely a tool for economic and political gain without true access to social security or any type of rights, being only valued on the base of their labor.

Michel Franco answered also on how the issues that emerge in the film are very close to the director’s roots themselves, examining how talent and work are valued by the US often only on a utilitarian basis. Immigrants are there tolerated as long as they serve a purpose, yet are denied the protections afforded to citizens, exposing harsh realities of inequality and systemic exploitation. These complex themes enrich, in the end, a film that truly urges viewers to reconsider perceptions of borders, labor, and dignity, through the eyes of a toxic relationship of mutual power, control, and even vengeance.

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At the 23rd edition of Alice nella Città, the director Laurent Slama, presented his film  “A Second Life” Out of Competition. After traveling from Tribeca to Karlovy Vary, Slama’s film arrives in Rome with its delicate mix of realism, intimacy, and social reflection — a story about isolation, perception, and the search for connection in a modern world mediated by screens and noise.

For Slama, bringing “A Second Life” to Alice nella Città means engaging with the very audience the film was made for. “Yeah, it’s something very special because I think that the film will talk to a young audience,” he says. Yesterday I had some meetings with like 20 teenagers from high school. It was so… so nice and so deep in terms of exchange.”
The filmmaker reflects on how young viewers approach his work with unique sensitivity: “They are very, I don’t know, very sensitive. Because they are building themselves, and so yeah, it’s very… I feel very humbled to have the chance to show the film to this audience.”

The idea for “A Second Life” emerged unexpectedly, born from creative frustration and a powerful encounter. “So the idea comes from— it’s an old idea. I’ve been working on a totally different script in Paris and I was not happy with the film, so I let it aside,” Slama recalls.
Then came a turning point: “I met Agathe Roussel, the main actress, for another movie. It was like seven months before the Olympics, and it struck me that she was perfect for that hard-of-hearing character.”

From there, the process became urgent and instinctive: “I get back to work with the idea of writing a script for her to shoot during the Olympics. It was speedy and intense writing, and also preparing the film at the same time… I like this very strong and deep energy.”

Set during the Paris Olympic Games, the film turns the city itself into a living presence. “It’s more like a big documentary,” Slama explains. “I’m also holding the camera, so I’m really into the shooting with the actor.” Despite fears of chaos, the experience surprised him: “Paris was not so crowded at that time… all the Parisians were very afraid of the Olympics, so they left the city. It was a very nice moment, even if they decided to kick out all the homeless of Paris and there was some kind of social repression before the Olympics.”

The paradox between celebration and exclusion gives the film a political undercurrent — an echo of real-life contradictions hidden beneath global spectacle.

The protagonist, Elisabeth, is a hearing-impaired American living in Paris, and her perception defines the film’s emotional rhythm. “The main character is hard of hearing, so it’s not something very common in cinema,” says Slama. “But I like to explore the state that she’s in between. She’s between people who can hear and people who cannot hear. And she’s also between people who live and people who don’t live, because she’s experiencing depression.”

For Slama, sound becomes both a boundary and a bridge: “There was a strong attention on sound designing, because I wanted the cinema, the theatre to be like the experience of her perception. That’s why it’s important to see a film in cinema — because the sound is important and you can feel it.”

Across his work, Slama explores the relationship between people and the city. “Maybe because I am always shooting very freely in the crowd. This is what I like,” he admits. “We have such a revolution in terms of technique with the digital cinema revolution. We have very small cameras — it was the dream of the French New Wave — and I want to continue to explore that and explore the link in the city.”

A fascinating autobiographical thread runs through the film: the protagonist’s name, Elisabeth Vogler, was once Slama’s pseudonym. “I used the pseudonym for my two first features… I was very into this Bergman film Persona. When I wanted to leave the pseudonym, I decided to give it to the character so I can let it go. It’s some kind of ritual, I guess.”

Finally, the meaning behind the title: “I think it’s, for me, just some kind of hope, you know? Hope that you can change, you can start something new. There is always a moment that you can break a circle and try to change a little bit and have a new perception on life.”

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At the 23rd edition of Alice nella Città, Carla Simón, the acclaimed Catalan filmmaker behind “Summer 1993” and “Alcarràs“, talks about her new film “Romería”.

A delicate and deeply personal work, “Romería” closes a trilogy in which Carla Simón has explored family, loss, and identity through the lens of memory and imagination.

“When I started with my first film, Summer 1993, I didn’t know I would make two more films about my family,” Carla Simón explains. “But it just happened. I have a very big family full of stories.”

With “Romería”, the director completes a cycle that began with childhood and ends with motherhood, marking a turning point in her creative and personal journey. “After Romería, I feel that I already talked about all of them somehow,” she reflects. “Now my perspective has changed — I’m part of the middle generation.”

In “Romería,” Marina travels to Spain’s coast to meet her late father’s family, as Carla Simón turns loss into a journey of memory and love.

One of the most striking aspects of “Romería” is its exploration of cinema as a way to create memories that never existed. As Simón says, “I realized that I have cinema to create these images that I was lacking. If you’re conscious that you are imagining it, you know that you can get close to reality, but it will never be reality.”

In this sense, “Romería” becomes both a reconstruction and a reinvention, a poetic act of healing through storytelling. Simón’s own loss inspires the film — both her parents died of AIDS when she was a child — and her effort to reconnect with her father’s family years later.

Her words are as moving as they are lucid: “If my parents were alive and they told me their love story, maybe it would not be exactly as they tell it anyway. So I thought, why not imagine it?”

After the observational realism of “Summer 1993” and “Alcarràs“, “Romería” introduces a dreamlike, lyrical dimension. “I wanted to have more poetry,” Simón admits. “Cinema can be many other things, and here came the idea of having this part more imagined or more dreamy.”

This shift is reflected in the film’s rhythm and visual tone, which move fluidly between memory, imagination, and gesture. A key sequence, featuring a musical interlude, evokes the collective energy of Spain’s 1980s youth. “I thought it was a nice way to tell that this happened to many other people,” she says, noting that the chosen song is from Vigo, her father’s hometown.

For Simón, family is made of gestures as much as words. “There are many things in family relationships that are not said, that are more through gestures,” she explains. In “Romería” , Marina’s actions — handling the ropes of a boat as her father once did — become a form of inheritance, a physical echo of belonging.
“I relate the sea to my parents,” she says. “My father used to sail, and my mother talked about the sea in her letters. It represents the freedom they felt in that time.”

Known for her work with non-professional actors, Carla Simón continues her commitment to authenticity. “If you are portraying a family, you need to create intimacy between the actors,” she says. Through rehearsals and improvisations, she helps them “create a shared memory,” allowing emotions to feel real on screen.

Asked what memory she feels she’s finally created through “Romería”, Simón smiles: “It gave me the chance to create a lot of images from my parents’ story. But the most important one was their love.”

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During the 20th edition of the Rome Film Fest we spoke with Stephen Graham and Anson Boon, main actors of “Good Boy,” directed by Jan Komasa. The film offers a compelling reflection on the restrictive nature of modern society, seen through the eyes of a british rascal who gets trapped in a re-educational plan of a family who kidnap him and chain him down to obtain their purpose.  The film, showcased here at the Rome Film Fest, delves into how societal expectations, on the educational system of today and on how digital culture can also act as an invisible prisons for today’s youth itself.

Actor of “Good Boy” Stephen Graham told us how he film critically examines the impact of social media, but also how nowadays there is an instant judgment, and superficial validation on young individuals. People constantly seek for approval, but often what comes back it does at the expense of genuine identity. The narrative questions also whether true rebellion lies in conforming, or in embracing one’s own happiness and spreading love amidst societal pressures instead.

Actor Anson Boon, instead, stressed the attention on how the film shows how social media shapes identity and peoples validation, exploring how a reintroduction of cultural education can foster a healthier development. On this path, the transformative power of culture and literature can play a crucial role, pushing the younger generations in engaging with classic novels, music, and cinema again, gravitating away from harmful pursuits  toward self-awareness.

“Good Boy” by director Jan Komasa challenges viewers to reflect on the societal cages we inhabit daily, highlighting the potential that culture play in helping break free and foster genuine individuality.

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During the 69th BFI London Film Festival, director Oscar Hudson and actors Luke and Elliott Tittensor explored the profound themes of identity and nationalism in their film, “Straight Circle”. Hudson discusses the origins of the project, driven by his interest in non-places and the impact of the war in Ukraine, which inspired him to examine these universal themes. The film doesn’t focus on a specific conflict but on the essence of every conflict — emphasizing the absurdity and isolation created by borders.

Hudson explains the significance of the desert landscape, which serves a crucial narrative purpose: illustrating two soldiers who forget which side of the border they’re on. More profoundly, the emptiness reflects a void of meaning, allowing the characters to strip away their identities and associations. Hudson wanted an authentic environment where viewers could feel a tangible connection, which is why the film’s setting had to be real. The desert is an actual space, not just a backdrop, making it a vital character that enhances the film’s raw, visceral experience.

Hudson intentionally avoided a didactic approach, leaving ample space for audience interpretation. While the film addresses the futility of borders, the title “Straight Circle” represents perspective: from afar, a border appears as a circle, but up close, it looks like an infinite line. At its core, the film explores what unites people beyond the arbitrary divisions on a map, emphasizing shared human experience despite physical boundaries.

Luke and Elliott Tittensor discuss the challenges of embodying their respective roles. Luke highlights the extensive character development, including accents and prosthetics, which helped him fully inhabit his character. His Lancashire accent, close to their own origins, added an earthy authenticity. The physicality between the brothers contrasted sharply, reflecting their characters’ opposing natures.

Elliott adds that building their characters and honoring the script was a key challenge. Filming in Vanirkepan, South Africa, immersed them in an environment that shaped their performance. Luke emphasizes the symbolic use of twins in the film to illuminate themes of difference and disconnection. Elliott notes that twins serve as a powerful metaphor for relationships and connections, especially since identical twins originate from the splitting of an embryo, symbolizing unity and division simultaneously.

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During the 69th BFI London Film Festival, Deming Chen, director, and Hansen Lin, producer, discussed their deeply personal project, “Always”. The film was showcased as part of the festival’s diverse selection, highlighting its poetic approach to storytelling. “Always” delicately portrays the life of a young boy in rural China and his extraordinary talent for poetry. The conversation explored the origins of the story, the unique visual style, and the challenges of presenting such a nuanced narrative to an international audience.

Chen shared the serendipitous story of how he discovered Gong, the young poet at the heart of “Always”. In 2018, Chen returned to his hometown in Hunan province and connected with a volunteer teacher who shared Gong’s poem on social media. Deeply moved by its depth and originality, Chen sought out Gong and found a kindred spirit, recognizing echoes of his own childhood in the boy’s experiences. This connection ignited his desire to tell Gong’s story and capture the essence of rural Chinese life through a lyrical lens.

Chen explained his deliberate decision to diverge from traditional documentary styles for “Always”. He aimed to create a visually poetic experience, emphasizing the beauty and stillness of the landscape and daily village life. This approach is reflected in the film’s pacing, evocative shots, and even the carefully crafted subtitles, all designed to evoke a sense of lyrical emotion.

The interview highlighted Gong’s remarkable maturity and sensitivity, which often seem beyond his years. Chen acknowledged the bittersweet reality that Gong’s future may not lead him to become a professional poet due to societal constraints and evolving personal interests. The film ultimately serves as a poignant memory, preserving Gong’s poems and experiences for future generations.

Chen revealed his personal connection to Gong’s story, recalling childhood memories of solitude and imagination. This emotional resonance underscores the film’s broader themes of memory, identity, and the enduring power of childhood experiences. Hansen Lin also reflected on his connection to the project, noting shared experiences of being “left behind” and the universal emotions that tie us all together.

Lin discussed the varied reactions to “Always” from different audiences, including some who interpreted its depiction of rural poverty as a critique of China. He clarified that the filmmakers sought to portray reality without judgment, highlighting the challenges faced by rural communities and efforts to improve their living conditions. Their primary aim was to showcase the resilience and beauty of the human spirit, especially the children’s capacity for creativity and hope.

Despite awards and recognition, Lin acknowledged the challenges of distributing a film that defies conventional expectations. He expressed a desire to reach audiences who appreciate the film’s artistic vision and its message of hope and resilience. Lin hopes that “Always” will inspire young viewers to embrace their creativity and find beauty in life’s simple moments.

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Hsu Ya-Ting, director of “Island of the Winds”, first encountered the Lesheng Movement as a college student. Captivated by the story of Lesheng Sanatorium residents facing eviction, she initially documented their struggles for her graduation project. Deeply touched by their spirit and resilience, Ya-ting was moved by how openly they shared their stories and actively fought to protect their land. Despite the complexities of political and medical issues surrounding the eviction, she felt compelled to tell their story. After years of reflection and growth, she returned to Lesheng to craft “Island of the Winds”. During the 69th BFI London Film Festival we discovered this film that functions not only as a documentary but also as a beacon of hope, echoing its own message of resilience.

Producer Huang Yin-Yu joined the project later, recognizing the need to make their story accessible to an international audience. She emphasized the importance of clear communication and a shared understanding of the film’s core message. With her experience in Japanese cinema, Huang facilitated collaborations with Japanese editors and French co-producers, enriching the film with diverse perspectives. Through workshops and pitching forums such as Docs by the Sea and Berlinale, the team gained support and recognition — culminating in winning an award at Cannes Docs.

Creating “Island of the Winds” was a deeply personal and emotional journey for Hsu Ya-Ting. As she spent more time with the residents, her involvement grew beyond that of a filmmaker to that of an advocate. She documented difficult moments, such as residents facing pressure to relocate, which strengthened her dedication to the project. Over time, her role blurred the lines between filmmaker and friend, grappling with how to portray moments of loss and grief with respect. Ya-Ting aimed to capture not their fragility, but their unwavering spirit. The heavy weight of their history and her responsibility to share their story became central to her filmmaking process.

Hsu Ya-Ting hopes “Island of the Winds” reminds audiences of the importance of fighting for what they believe in. The residents of Lesheng taught her that even when circumstances seem fixed, individuals have the power to shape their destinies and voice their truths. She believes true democracy lies in the freedom to be oneself, regardless of social status or external pressure. This resilient spirit is embodied in the film, showcasing the residents’ unwavering commitment to their home and beliefs.

Huang Yin-Yu wishes for “Island of the Winds” to shed light on Taiwan’s grassroots civil rights movement and its ongoing fight for democracy. She underscores that the film is a testament to the voice of the land and the importance of understanding those who fight to defend their rights. By spending two hours with the residents of Lesheng, viewers can deepen their appreciation of their resilience and the significance of their story.

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Vincent Munier, the director behind the captivating documentary “Whispers in the Woods”, sat down at the 69th BFI London Film Festival 2025 to discuss his deeply personal film. “Whispers in the Woods” explores Munier’s relationship with his father and son, Simon, set against the breathtaking Vosges mountains. This film is not just a nature documentary; it’s an intimate portrayal of family, legacy, and the vital connection to the natural world.

One of the most touching scenes in “Whispers in the Woods” involves Vincent, his father, and Simon navigating through deep snow. Munier recalls his father instructing Simon to follow in his footsteps, symbolizing the passing down of knowledge and experience. “This movie is very intimate and very personal,” Munier explains. He emphasizes how his upbringing, where his father cultivated his appreciation for nature’s beauty, greatly influenced his path. This foundation fuels his desire to share that connection with his own son.

Munier’s approach to filmmaking treats the forest itself as a living character. He masterfully weaves together natural sounds, music, and stunning visuals to create an immersive experience. Highly attentive to lighting and composition, Munier uses his skills as a photographer to capture “the very special moment[s] that touched my heart,” aiming to transmit the wonder and enchantment he feels in nature. He avoids moralizing, instead focusing on conveying raw, unfiltered emotion that arises simply from being present outdoors.

“Whispers in the Woods” deliberately diverges from traditional wildlife documentaries. It’s less about sensationalism and more about contemplation. Munier seeks to offer viewers a “rest time” and an “immersion” into the forest environment. His goal is to encourage people to disconnect from modern noise, reconnect with their senses, and appreciate the accessible beauty in their surroundings. In a world flooded with information and constant activity, Vincent Munier gently reminds us to slow down, observe, and listen. He hopes audiences will feel inspired to pack a backpack, take a sleeping bag, and venture into the forest.

Munier stresses that all creatures, big and small, are equally important, rejecting a hierarchical view of nature. He recalls a poignant moment when his father, saddened by the decline of a bird species, finds comfort in the appearance of a tiny winter wren. This scene encapsulates the film’s message: every living thing holds value, and we should pay attention to the messages even from the shyest, most overlooked creatures. Vincent suggests that focusing solely on iconic species may be a mistake, emphasizing the richness of the entire ecosystem.

Sound plays a crucial role in creating an immersive experience, according to Munier. The natural soundscapes, combined with carefully selected musical pieces, elevate the film beyond mere visuals. Munier describes how he uses microphones strategically to capture specific sounds, like a deer’s call or a lynx’s movement, heightening the sensation of being present in the forest. His appreciation for radio’s ability to spark imagination informs his filmmaking style—preferring to “suggest” rather than show explicitly, giving viewers space to create their own connections. During the interview, Munier also praised Hildur’s haunting song as “amazing.”

Ultimately, “Whispers in the Woods” advocates for simplicity and reminds us of the wonder found in everyday life. In a world where humans often “speak too much,” Munier encourages us to open our eyes, listen, and cherish our surroundings. He hopes the film will inspire viewers to reconnect with nature, even through small gestures—like taking a walk in the woods, observing a bird, or simply appreciating the beauty of a sunset. Munier believes these simple moments can enrich our lives and deepen our bond with the planet. While acknowledging the ecological concerns many face, he offers a gentle invitation to find solace and inspiration in the natural world, without preaching.

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