FRED Film Radio - English Channel

Ahead of the 69th London Film Festival, Fred Film Radio sat down with one of the programmers, Grace Barber-Plentie, who gave us the inside scoop on what this year’s instalment has to offer.

Barber-Plentie spoke about the two premieres bookending the festival: “Wake Up Dead Man,” part of the ongoing “Knives Out” trilogy, which brings back beloved detective Benoit Blanc for another A-List ensemble, featuring renowned actors like Daniel Craig and Josh O’Connor. The festival wraps with Julia Jackman’s “A 100 Nights of Hero,” a vibrant comedy featuring a star-studded British cast including Emma Corn and Charlie XCX.

Key themes and trends emerging this year include a Shakespearean undertone that runs through several entries, with films like “Hamlet” and “Ariel,” inspired by the Bard’s works, set on islands and revolving around performance and identity. Additionally, the festival showcases films examining childhood trauma and memory, such as “Blue Heron” and “My Father’s Shadow.”

Barber-Plentie also discussed the festival’s emphasis on debut features through sections like the Sutherland First Feature Competition, often nurturing female filmmakers and underrepresented voices. Award-winning debut films like “Fuck Toys” and “The President’s Cake” demonstrate the festival’s commitment to diverse storytelling and pioneering voices that challenge conventions.

With its eclectic programming, thematic depth and dedication to new talent, the 2025 London Film Festival looks set to be another memorable year for cinemagoers in the British capital.

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The film “Breaking Walls” offers a poignant portrayal of fatherhood amid political and cultural shifts in Spain and Europe in the late 1980s. Set in Bilbao and Berlin, the movie traces the journey of a group of families navigating unemployment and social transformation, culminating in Berlin’s historic wall fall.

The English title, “Breaking Walls“, encapsulates the film’s core metaphor — the walls between generations and nations. Director Borja Cobeaga explains that the narrative parallels the physical division of Berlin with the emotional and cultural barriers faced by fathers and their daughters as they embark on a road trip to Berlin for a gymnastics competition. The story is rooted in the socio-economic decline of Bilbao’s industrial sector, where factory closures in the ‘80s altered traditional family roles. As fathers confront unemployment, and in some cases divorce or middle-age crises, the film captures their struggle to adapt to new realities, including the rise of women as primary breadwinners.

“Breaking Walls” delves into the redefinition of masculinity and fatherhood during a period of societal upheaval. It portrays a metaphorical journey that reflects the broader political transition from Spain’s post-Franco era to a more integrated Europe, only a few years after Spain joined the EU. The film combines humour and sentimentality, avoiding heavy jokes in favour of a soft, emotional comedy that emphasises vulnerability and change.

While set against a European backdrop, the story subtly critiques the nascent sense of European unity, highlighting Spain’s slow integration into the continent. The director comments on his personal and collective disillusionment with nationalism, positioning Europe as both a historical and contemporary space of transition.

The cast features a mix of seasoned and emerging actors, with real-life fathers playing their on-screen counterparts to bring authenticity to the portrayal of familial bonds. Shooting involved managing a diverse ensemble, including young children, which presented unique logistical challenges but enriched the film’s naturalistic tone.

“Breaking Walls“opened at the 12th Edition of the Edinburgh Spanish Film Festival, promising viewers a heartfelt reflection on change, identity, and the enduring spirit of family.

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With his debut feature, “The president’s Cake“, Iraqi writer/director Hasan Hadi won the Camera d’Or and the Director’s fortnight’s audience award in Cannes.

Now his film is traveling around the world, landing the Zurich film festival’s program before heading south, to the Alice nella città’s competition in Rome, Italy.

The film is a fable like realistic tale about a nine year old girl journey to gather ingredients for the mandatory cake to celebrate President Saddam Hussein’s birthday during the long UN sanctions period of his regime in the early 1990s.

The President’s Cake blends realism with fable, crafted from the filmmaker’s personal childhood experiences during Saddam Hussein’s regime. Set in a majestic marshland, the film recounts the paradox of having to craft a birthday cake in a period of estreme poverty and government restrictions that could turn ordinary desires into risky acts of defiance.

Before his film’s premiere at the Zurich Film Festival, the director invited the audience to feel free to laugh and don’t be shy to be entertained as the film, intentionally adopts a tone of dark comedy and magical realism, inspired by Italian neorealism classics like “Bicycle Thieves“. This approach allows audiences to engage with a serious story through accessible storytelling, emphasizing the universality of childhood innocence amidst political turmoil. The film’s visual language, particularly the majestic marsh landscapes, contributes to this surreal yet authentic ambiance.

Anybody who has been in the film business long enough knows the rules, when directing a film, the most difficult thing is to work with children and animals. Considering that little Lamia is carrying her rooster friend Hindi all the time with her, along her journey, Hasan Hadi chose to face adversities with his debut feature. “I had a mentor who said, there are five forbiddens, especially in your 1st feature: working with non-actors, children, animals, crowds and on water. I have all of them in this feature.” confirms the direct.

Working with non-professional actors and children posed significant challenges, but ultimately enriched the film’s authenticity. The cast’s natural performances, achieved through workshops focused on life experiences rather than acting techniques, brought genuine depth to the characters. The director emphasized flexibility and understanding, creating a compelling portrayal of resilience and human dignity.

Having won the Camera d’Or at Cannes and received international recognition, “The President’s Cake” continues its festival journey. The film’s universal themes like poverty, dignity, childhood love, resonate beyond Iraq’s borders. With producers like Chris Columbus and Marielle Heller supporting the project, the film underscores the rising importance of independent cinema in addressing global issues through compelling storytelling.

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In this episode, we talk with Maxime Lechaud, director of the Festival International du Film Grolandais de Toulouse, known as FIFIGROT, which recently celebrated its 14th edition as a vibrant hub for provocative and socially conscious cinema. Originating in northern France, the festival relocated to Toulouse, emphasizing its commitment to showcasing both contemporary and overlooked older films.

The FIFIGROT programme follows a dual approach, premiering recent works that often encounter distribution hurdles in France while also revisiting historical and controversial films from past decades. This blend highlights the festival’s dedication to fostering dialogue through cinema, with a particular focus on artists and themes that challenge societal norms. A notable highlight was the screening of films by legendary directors such as Peter Watkins, Julio Questi, and Bigas Luna, many of which are rare or rarely available in standard cinema settings.

Beyond film screenings, Fifigrot is renowned for its dynamic festival village, creating an immersive cultural experience that combines literature, graphic arts, and live performances. This central hub fosters community engagement, allowing attendees to connect through conversations, exhibitions, and music, embodying the festival’s spirit of creative exchange.

Reflecting on this year’s programme, Lachaud notes an undercurrent of melancholy, shaped by global events. Films like Nadav Lapid’s “Yes” uniquely intertwine humor and tragedy, offering audiences profound reflections on current realities.

The festival’s impact extends beyond Toulouse, reintroducing forgotten films to the wider French market, supporting new filmmakers, and cultivating a passionate cinephile community. As it continues to evolve, the festival remains a vital platform for innovative, socially aware cinema celebrated by both veterans and newcomers alike.

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In “Whisperings of the Moon“, director Lai Yuqing crafts a compelling narrative centered on a queer romance set against the vibrant yet oppressive backdrop of Phnom Penh. During the 2025 Busan International Film Festival, we spoke with Lai Yuqing about her inspiration, visual approach, and the journey of expanding her short film into a feature-length production.

Lai Yuqing revealed that her first visit to Phnom Penh made a deep impression on her. “When I first visited Phnom Penh, I experienced conflicting feelings because of the mixture of cultures—French, Chinese, Khmer, and English. The city gave me a sense of tragedy, which inspired me to set the story here.”

The blend of diverse cultures and the city’s ambitions for development, contrasted with traditional elements, sparked a narrative rich in passion and potential conflict. You can learn more about Phnom Penh’s cultural landscape [here](insert hyperlink here to an article about Phnom Penh culture).

The film’s visual style, characterized by rhythm and fluidity akin to dance, reflects Lai Yuqing’s instinctive directing. “I create storyboards and plan lighting before shooting, but during filming, I rely heavily on the actors’ performances.”

She emphasizes the importance of adapting to actors’ spontaneity and following her intuition to capture authentic moments. Lai Yuqing immerses herself in the characters’ emotions to craft a deeply emotive visual experience.

Lai Yuqing’s diverse background as a filmmaker, actor, and musician profoundly shapes her directing style. “That’s why my actresses trust me—they know I understand acting and how to unlock their emotional depth.”

This multifaceted experience allows her to connect authentically with performers, fostering trust and enabling genuine portrayals. She adds that the story’s emotional core involved the actress deeply, allowing for empathy and connection.

“Love is a Book” served as the foundation for “Whisperings of the Moon”. Lai Yuqing explained her creative process: “To develop it into a feature, I wanted to expand the story, deepen the background, and develop the characters further.”

While maintaining a non-linear narrative style, her goal was to craft a broader, more emotionally resonant experience—blending flashbacks and present-day scenes to enrich the storytelling.

Having studied and worked across multiple countries, Lai Yuqing brings a global perspective to her storytelling. “Living in different cities taught me that different cultures and perspectives need to be acknowledged and respected.”

Her empathy enables her to portray diverse cultures and experiences authentically, emphasizing that emotions are universal and transcend cultural boundaries.

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At the 30th Busan International Film Festival, I had the opportunity to speak with Jianhang Chen, the film’s director, and Lin Ziyang, the producer, about their film “The River That Holds Our Hands.” This captivating documentary-fiction hybrid beautifully explores the experiences of the Teochew diaspora, blending cultural storytelling with sensory artistry. In this interview, they discuss their creative process, the importance of cultural identity, and how sensory elements play a vital role in storytelling.

Jianhang Chen shared that his journey to create this film began with a documentary perspective, having filmed over five years in this format. This experience naturally evolved into a hybrid filmmaking approach. “I love how people talk about their stories in their homes,” Chen explained. “Documentary allows us to capture these authentic moments and bring them onto the big screen for the audience.” He emphasized the significance of capturing natural interactions, citing a scene shot on the streets of Saigon where a street vendor was unaware of being filmed, resulting in a genuine, unscripted shot.

Both Chen and Ziyang highlight the importance of sensory elements—especially sound and visual imagery—in conveying memories and dreams. The Eye Catcher Global jury praised the film for its delicate attention to sound design. Chen elaborated that sound was deliberately used to evoke a sense of nostalgia and historical rhythm. “We aimed to blend sounds that ancestors might have heard—birds, water, and everyday life—mixed with modern elements to create an immersive, dreamlike atmosphere.” This acoustic layering enhances the emotional resonance of the film.

The theme of touch is central to the film and its title, symbolizing a bridge between past and present. Chen described how tactile experiences, such as the sound of touching an old photograph, evoke memories and connect the characters to their history. An example is the scene where the main character touches an old lady’s hand as she sleeps; this moment triggers a dream of her mother and a subsequent scene in Vietnam, forging a deep link between different generations and histories. Lin Ziyang also emphasized the significance of these tactile, sensory connections in illustrating personal history.

Both filmmakers expressed gratitude for support from organizations like the Maritime Guangdong Program and the Asian Cinema Fund (ACF). Chen explained that the Maritime Guangdong funding was crucial during the early stages when the project was just a short film. “Over these two and a half years, we received invaluable support from multiple organizations, which kept us motivated and helped shape the final film.” The ACF played an essential role in the later stages of production.

When asked about the central themes in exploring the Teochew diaspora, Chen emphasized identity and the desire to share these stories globally. “I believe the Teochew community has many rich stories to tell. We’re proud of our culture and heritage, and I wanted to share that pride with the world—especially in Asia.” He aims to use film as a universal language to connect the ancient stories of the Teochew people with a broader, international audience.

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“Honey Don’t”, the second chapter of a B-movie lesbian trilogy directed by Ethan Coen (without his brother Joel) and co-written with the screenwriter and the director’s wife, Tricia Cooke, is a captivating and hilarious homage to 1940s Dashiell Hammett–style detective stories, with Margaret Qualley in the role of an anti–femme fatale.

Coming to Italian movie theaters with Universal Pictures starting September 18th, the film premiered, out of competition, at the 78th Cannes Film Festival.

Ethan Coen and Tricia Cooke’s  second collaboration on “Honey Don’t“, after “Drive Away Dolls“, blends a private-eye story with a murder mystery wrapped in seduction, lies, and stylized action. Drawing inspiration from classic noir films, “Honey Don’t” merges the hard-boiled storytelling of Dashiell Hammett, Raymond Chandler, and James M. Cain with the grit of lesbian pulp novels.

“Honey Don’t” reimagines the classic noir detective story by centering a female lead who is a lesbian private investigator. During the interview set during Cannes Film Festival, the filmmakers declared that they aimed to play with the butch-femme dynamic by switching them so to avoid the usual femme fatale trope. The result is a story that challenges gender norms and genre conventions and is part of a broader effort to craft honest, genre-based movies with a fresh perspective on sexual identity and character dynamics.

How do you blend your voices together? we asked the duo in order to understand more about their collaboration on the film’s development process.  Cooke and Coen admit that they rely on their ongoing dialogue,  blending ideas, and shaping characters that feel authentic yet exaggerated enough to serve the satire. The characters, especially the lesbian protagonists, played by Margaret Qualley and Aubrey Plaza, were designed to explore complex themes such as trauma and identity. The filmmakers noted that their characters act as twin sisters, one representing the “good” and the other the “evil”, highlighting how trauma influences behavior and self-perception.

In “Honey Don’t“, Ethan Coen and Tricia Cooke introduce us to characters  that feel as extreme as they feel real. When does satire end and reality begin? “These characters are kind of outrageous – confirms Coen – but you look at reality and and they’re not so outrageous anymore, certainly these days in our country, reality is odder than fiction“.

Coen and Cooke assure that their storytelling seeks to push the limits while being careful not to lose connection to real-life experiences.

Following “Honey Don’t” and “Drive Away Dolls” Ethan Coen and Tricia Cooke aim to continue exploring lesbian-themed genre films with the third chapter. Their next project, Go Beavers promises to further innovate within the genre, blending traditional storytelling with daring, fresh perspectives on sexuality and identity.

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“Newport & The Great Folk Dream”, directed by Robert Gordon, produced by Joe Lauro and presented out of competition at 82nd Venice film Festival, is a documentary made from footage shot in the early 1960s and it could not be more relevant to this 21st century political moment. While making it, they observed the USA trying to turn the world back to the racist and nationalist sentiments of this movie’s early 1960s era. In contrast, they were powerfully moved by the festival’s embrace of diverse cultures, by the exchange of songs and technique between the generations, by the 1960s fight for racial and electoral freedom.

“Newport and the Great Folk Dream” captures the spirit of protest that defined that era. From civil rights demonstrations to anti-war demonstrations, music served as a vital tool for expression and activism. As Robert Gordon explains “the music at that time helped bring along change in the civil rights movement and the anti-war movement. Singing gave people a sense of power and unity”.

The filmmakers note that the themes of protest and social activism remain relevant today. Gordon reflects: “Music is powerful in many ways. When people sing for a cause now as in the past, it creates a bond that can inspire action”. The film advocates that music continues to be a potent tool that can bridge generational gaps and inspiring collective effort.

“Newport and the Great Folk Dream” serves as a powerful reminder of how art and activism intertwine. Through restored footage and insightful storytelling, the film captures a pivotal moment in American history, highlighting the timeless role of folk music as a catalyst for change.

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Lee Hong-Chi’s latest movie, “A Dance in Vain”, showcased at Venice Critics Week at the 82nd Venice Film Festival, delves into the cityscape of Shanghai to portray a landscape of lost hopes and silent struggles. The film captures the emotional landscape of contemporary urban youth, blending minimalist acting with poetic narrative techniques that evoke both despair and resilience. We talked about the movie with director Lee and actress Cici Wang.

Set against the backdrop of a city grappling with economic decline, “A Dance in Vain” paints a portrait of Shanghai as a place where dreams fade amidst growing urban alienation. The film’s protagonist, Monkey, a young artist searching for her space in this ambiguous city, embodies the sense of disconnection felt by many young people today. “This city is no longer a land of dreams but a place of unfulfilled hopes,” explains Lee Hong-Chi. The narrative explores how economic hardships and social pressures influence the aspirations of the new generation.

One of the hallmarks of “A Dance in Vain” is Lee Hong-Chi’s deliberate use of minimalistic acting, especially in the portrayal of Monkey, played with restrained emotion by actress Cici Wang. The director emphasizes internal expression, requiring actors to convey complex feelings through subtle gestures and minimal dialogue. This approach heightens the film’s contemplative atmosphere.

Lee Hong-Chi also employs classical voiceover techniques, reminiscent of film noir, to express the inner worlds of the characters. “Voiceover allows us to delve into mental journeys that visuals alone might not fully capture,” he explains. The technique creates a layer of introspection and regret, adding depth to the narrative and encouraging viewers to reflect on the characters’ inner struggles.

Reflecting on the film’s themes, Lee Hong-Chi discusses the emotional state of today’s youth. Although material needs are generally met, many young people grapple with existential questions: “What is the purpose of life? Can I fulfill my dreams?” He highlights that younger generations, unlike their predecessors, face intense social pressures despite experiencing relatively comfortable childhoods. His observations are grounded in real-life encounters, as most actors and locations are non-professionals and authentic settings within walking distance from his home.

“While they are financially stable, many young people feel lost and question their future,” Lee Hong-Chi notes. The film portrays this internal conflict, capturing both the superficial vibrancy of urban life and the deep-seated despair of unmet expectations.

Shot in real locations such as cafés, floral shops, and streets near the director’s residence, “A Dance in Vain” emphasizes authenticity. The casual, candid atmospheres contribute to the film’s realism, immersing viewers in contemporary Shanghai life. By depicting everyday environments and non-actors, Li Hongqi creates a raw and intimate portrait of a city and its young inhabitants.

“A Dance in Vain” is a reflection on the evolving identity of urban youth amidst societal change. The film raises questions about hope, purpose, and the ongoing search for individuality in a city of shifting dreams. It offers a poetic yet unflinching look into the emotional landscape of modern China.

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Interview during the 82nd edition of Venice International Film Festival with Julian Schnabel, director of the film “In the hand of Dante”, and actor Oscar Isaac. The production, part of the official selection in Venice Film Festival 2025, is based on the book by Nick Tosches that intertwines two temporal lines: one of the author, looking for the original manuscript of “The Divine Comedy”, and a second one that follows Dante himself.

Julian Schnabel’s fascination with Dante stems from the complexity and impossibility of the original book. The director explained that the source material is “one of the craziest and most impossible books I’ve ever read”. Oscar Isaac, also an executive producer of the film, shared insights into his role and the passion behind producing “In the Hand of Dante.” He revealed that he chooses projects primarily based on emotional connection and a sense of ownership. For Isaac, this film represented both a personal challenge and an exploration of profound themes.

Julian Schnabel’s directorial style is characterized by a fearless embrace of spontaneity and improvisation. Oscar Isaac described Schnabel as a director who “divides towards the unknown,” fostering an environment where inspiration flows freely. The creative process was described as “working without a net”, highlighting the unpredictable and intuitive nature of shooting this wild, visceral film.

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