FRED Film Radio - English Channel

“I Will Revenge The World With Love – S.Paradjanov” by Zara Jain is dedicated to the centenary of the birth of the world’s freest and most famous artist, filmmaker and incarcerated man. One of his most important messages is that, regardless of global chaos and geopolitical intrigue, we should all continue our work without becoming instruments of a harmful reality. Paradjanov’s story is proof of this truth, and for today’s artists it can serve as inspiration and guidance towards the only winning choice. we talked with the director  Zara Jian and the consultant Joel Chapron, last collaborator of Paradjanov.

For Zara Jian, constructing “I Will Revenge The World With Love – S.Paradjanov” was aimed at interpreting the theme of human freedom under conditions of unfreedom, when freedom is limited both by the borders of the totalitarian state and by the barbed wire surrounding the prison camp, as Paradjanov did for much of his life.

In her film, Zara Jian shows how the inspiration for creativity, inner freedom, and the use of art to fight and overcome abuse is a lesson that has taken root in the minds of many filmmakers of all generations, backgrounds and genres. In the interviews collected, which are more confessions and tributes than interviews, all or filmmakers honour Paradjanov for this, from Atom Eoyan to Emir Kusturica to Tarsem Singh.

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Ben Chaplin is one of the lead characters of the film “September 5” by Tim Fehlbaum, based on the media reaction and live coverage of the first ever  terrorist attack  to be shown on tv, at the Munich Olympics of 1972. Chaplin is the experienced  producer that is the moral conscience of the team, more concerned about the people behind the news than the news itself. Ben Chaplin  is also in awe of the director of the film that managed to keep the narrative tight and realistic.

Ben Chaplin talks about his character and even if he comes out as the thoughtful and the most grounded one, he is not sure that this was his nature. He met people and talk with former colleagues that testify he was a man with a temper, sometime rough but on this specific unexpected and unprecedented situation he showed to be able to keep calm and to look at the bigger picture.

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In “Possibility of paradise”, the Serbian Filmmaker Mladen Kovačević (“4 years in 10 minutes”, “Merry Christmas Yiwu”, “Another Spring” ) follows 7 different people at a turning phase of their life. They all have in common the fact that they live in the same country, in Indonesia, but this information is not unveiled in the film: we are supposedly in what, at a first sight, incarnates the western idea of Paradise, a tropical island. Instead, we’re in Purgatory, waiting for Paradise, and finding out that things are not what we expected.

Mladen Kovačević explains that the inspiration for the documentary comes from the Divina Commedia. The seven stories correspond to the seven circles – called “cornici”- of the Purgatory. They are introduced by a prologue in which a group of little girls at school wait for the rain to stop. They are the only characters belonging to the island and the only ones who live into the present. The others are all foreigners, following a dream, searching the perfect spot to turn a page, between what’s left and what will come next.

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With the beginning of the full-scale invasion in 2022, Olha Zhurba started to film the war as archive footage. It was chaos, they were living apocalyptic times and nobody was thinking of the future.

After the Ukrainian troops liberated some of the regions and the Russians were blocked, Olha Zhurba tells that in a way, people started to adapt to the war, to continue living and resist.  She also adapted: she continued to film but she started to think to what kind of film that materials could become. That’s when “Song of slow burning earth” become the idea of a film. Filming was for Olha also a way to continue to do something that was belonging to the previous life, to ground her and give a sense to daily life in times of war.

Anna, one of the main protagonists, did not hesitate to be part of the film. She trusted Olha, she felt they were the same. She says” You trust the person, and then you trust the process“.

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In an impactful conversation, Türker Süer, the director of “Edge of Night“, Orizzonti Extra, delves into the inspiration and thematic richness of his compelling film.

The narrative centers on Sinan, a young lieutenant in the Turkish army, who faces a heart-wrenching decision when he is asked to hand over his brother Kenan to a military court. Set against the backdrop of a politically charged environment and following the tragic death of their father, the film explores the intense dynamics of brotherhood and loyalty amidst societal pressure.

Süer reveals that the initial impetus for the story came from a deeply troubling event he encountered involving the destruction of graves in Eastern Turkey. “I read about angry citizens knocking over tombstones, believing the deceased to be terrorists. This incident haunted me,” he explains. The mayor’s warning that such hatred could cost society its humanity resonated with Süer, igniting a desire to explore themes of anger, distrust, and the complexity of human relationships within a repressive environment. “I was intrigued by how emotional turmoil and societal pressures reflected on individuals’ lives” he notes.

The film captures the nuanced relationship between Sinan and Kenan, highlighting the struggles they face as they confront the expectations imposed upon them by their society. “Loyalty becomes a central theme in the film,” Süer states. “I wanted to examine whether it is possible to be loyal to family and to oneself in a context where conflicting loyalties arise.” This exploration is not just about the bond between brothers but also serves as a broader commentary on the societal structures that shape their realities.

The narrative unfolds in a way that immerses the audience in the psychological conflicts faced by Sinan as he grapples with his conscience while upholding his duty to his family. “It was important to portray the duality of the characters’ experiences — to highlight how external factors can complicate personal relationships,” Süer explains. This complexity adds depth to their motivations and choices, prompting the audience to empathize with the difficult dilemmas the brothers encounter.

Visually, “Edge of Night” employs a striking aesthetic that amplifies the emotional intensity of the story. Süer worked closely with director of photography Matteo Cocco to create a vivid atmosphere that captures both the beauty and the tension of their surroundings. “Our goal was to reflect the internal struggles of the characters while immersing the audience in the moment,” he reveals. The lighting and composition serve as metaphors for the instability and uncertainty pervading both the familial relationships and the political climate.

As the film progresses, the tension escalates, ultimately leading to a critical moment during a coup that tests Sinan’s convictions. Süer notes, “The situation forces both brothers to confront their beliefs and decide what sacrifices they are willing to make.” This pivotal confrontation not only highlights the personal stakes for Sinan and Kenan but also reflects the broader societal issues facing individuals who must navigate their positions in a politically charged environment.

Throughout the filmmaking process, Süer focused on the authenticity of the characters’ experiences. “Casting was key to bringing the story to life” he emphasizes, noting the importance of working with actors who could embody the emotional depth of their roles. This approach allows for genuine performances that resonate with viewers and convey the film’s themes effectively.

In conclusion,”Edge of Night” serves as a poignant examination of brotherhood, loyalty, and the consequences of societal pressures. Through Türker Süer’s insightful direction and the emotions embedded in the narrative, the film invites audiences to reflect on their own experiences with loyalty, love, and the struggles faced in challenging environments.

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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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