FRED Film Radio - English Channel

In a revealing interview, Deepak Rauniyar, the director of “Pooja, Sir,” discusses the intricate personal and social inspirations behind his film in the section Orizzonti, which is deeply rooted in his own experiences with discrimination in Nepal. Rauniyar describes “Pooja, Sir” as a “product of love,” referencing his previous work, “White Sun,” which tackled the aftermath of the civil war in Nepal. This new film continues this thematic exploration, delving into the lived experiences of marginalized communities and the urgent need for dignity and recognition.

Rauniyar shares that he intentionally set “Pooja, Sir” in the same locations where significant protests occurred during the political upheaval of history in 2007 and 2015.

During these demonstrations, hundreds of thousands of people took to the streets to demand federalism and equal rights, risking their lives for the basic necessities of dignity and justice. By anchoring his film in these real-life events, Deepak Rauniyar underscores the importance of storytelling in fostering empathy and understanding among different communities.

Collaboration plays a crucial role in Rauniyar‘s process. His partnership with Asha Magratti, who contributed significantly to the film, adds depth to the narrative. They come from different backgrounds, with Magratti identifying as part of a light-skinned community while Rauniyar aligns himself with populations that face discrimination. This difference enriches the storytelling, as they seek to convey a message that transcends their individual experiences. Rauniyar emphasizes that much of the film’s narrative is inspired by both their lives, showcasing how gender inequality and societal norms have impacted them personally and collectively.

One of the central themes of “Pooja, Sir” is the portrayal of women in Nepal. Rauniyar highlights how uneven representation in films and media often neglects the struggles that women face daily. He reflects on Asha’s encounters with gender disparity during her upbringing, noting how she was denied the same educational opportunities as her brother, who received preferential treatment. This dynamic mirrors broader societal views in Nepal, where gender roles are rigidly defined, often preventing women from realizing their potential.

Through the character of Asha, Rauniyar passionately depicts the challenges faced by women trying to navigate their identities and roles in a patriarchal society. Despite her aspirations to be viewed as a “son” following the loss of her brother, Asha was continually met with resistance and discrimination. Rauniyar notes that these struggles are not just individual stories; they reflect systemic issues deeply entrenched within their culture.

The filmmaker intricately weaves these themes into “Pooja, Sir,” showcasing a society where misunderstandings lead to discrimination. Rauniyar articulates the belief that people from more privileged communities often view marginalization through the lens of stereotypes and propaganda, failing to grasp the realities faced by others. He hopes that by engaging audiences with these narratives, they will develop empathy and reconsider their perceptions of marginalized groups.

To ensure authenticity in “Pooja, Sir,” Rauniyar dedicated significant time to research, conducting interviews over several years with various individuals, including police officers. This extensive groundwork informs the film’s representation of social issues, grounding it in the realities of lived experiences. While some elements of the film are fictionalized for narrative effect, Rauniyar insists that the heart of the story remains embedded in true events and personal histories.

In conclusion, Deepak Rauniyar frames “Pooja, Sir” as a cinematic endeavor that goes beyond mere storytelling; it’s an exploration of empathy, identity, and social justice. By giving voice to the disenfranchised and challenging societal norms, the film aims to resonate with audiences not just in Nepal but globally. Rauniyar’s vision is to use cinema as a transformative tool that can spark conversations about discrimination, equality, and the complexities of human experience. For those intrigued by these themes, “Pooja, Sir” promises to be a thought-provoking film that encourages viewers to reflect upon their own perceptions of identity and social justice.

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At the 81th Venice Film Festival, Fred Film Radio interviewed Sandra Maischberger, the producer of “Riefenstahl”, a documentary directed by Andres Veiel featured Out of Competition. A fascinating look into the private archive of Leni Riefenstahl, who rose to world fame with her Nazi propaganda film “Triumph of the Will”, but who always denied any close ties to the regime.

It’s incredible how Leni Riefenstahl, what she represents and her work are more relevant today than ever. And how his figure remains an enigma for a long time, especially due to his connection with Nazism which he tried to minimize for years. “Leni Riefenstahl died many years ago, but her husband passed away in 2017, and there was this house full of documents, films, tapes, whatever she left behind”, tells Sandra Maischberger. “And I knew that I could get a hold on this estate. I met her many years ago doing an interview, and I could feel that she was lying. But now with the estate, I can prove it”.

Lots of archive material to deal with and a complex figure to tell in all its complex nuances. Why is Andres Veiel the right person to direct “Riefenstahl”? “For two main reasons. First, he did Beuys, which is a brilliant documentary about Josefh Beuys, an artist. And already there he had to cope with a lot of material, with a lot of things which are not moving, papers and evidence and so on. And he did it brilliantly, and I thought he’s the best choice for this film. And then secondly, you deal with Leni Riefenstahl. She is a master director and created images which are still prevailing today. So you cannot just put someone to make a simple documentary telling the story. It must be an artwork by itself”.

From the United States to Europe far right movements have found fertile ground in the last few years also because of the many Riefenstahl of the world? “That was one of the questions we had to answer because her aesthetics is still here”, tells Sandra Maischberger . “The question we had to answer is, if the aesthetic is here, maybe as well the ideas behind it. So are we facing a time where fascism, nationalism, imperialism is coming back? And this is my feeling about the time we’re living in. I think that we are in a crucial moment of history and I don’t want to go back to where we already have been looking at Leni Riefenstahl and what the Nazis did. So it’s a film about a historical person but at the same time it’s a film about what’s going on, what could become in the future for us, in Europe especially”.

The post “Riefenstahl”, interview with producer Sandra Maischberger appeared first on Fred Film Radio.

Welcome to our daily insights from the 27 Times Cinema.

The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.

Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.

The post 8min of 10 27 Times Cinema – Chris Zahariev – 29th August appeared first on Fred Film Radio.

At the 81 Venice Film Festival, Fred Film Radio interviewed Andres Veiel, the director of “>Riefenstahl”, featured Out of Competition. A fascinating look into the private archive of Leni Riefenstahl, who rose to world fame with her Nazi propaganda film “Triumph of the Will”, but who always denied any close ties to the regime.

When watching “Riefenstahl” you have the impression of watching a detective story. Did Andres Veiel feel like a detective called to solve a puzzle while working on the production of the documentary? “I think it’s the right approach for it because it gave hundreds of traces and you have to decide: ‘Okay, we follow up this trace’. And then we find another trace and then we find a proof or something. So it was like a puzzle and in the end we could create a very intimate close portrait of a fascist artist”.

To make “Riefenstahl”, Andres Veiel had to use a lot of material cataloged by the director herself. In doing so he realized that some passages of his life had been deliberately modified by Riefenstahl herself, becoming the director of her own life. “For us it was very important to understand more, not just accusing her of being a perpetrator – what she was, of course – but to understand how she became a Nazi fascist artist. And we have to go back to her youth. We could find a lot of testimonies, little notes telling about the violence of her father and violence of other men she experienced. Now, of course, this is not an excuse for her guilt, but we have to be precise, to understand her, but not to exonerate her or not to discharge her from the guilt. And this was a balance, like a title for her. We had to balance both sides. It’s very important to get a deeper insight of her character”.

In a society where right-wing political movements have found new fertile ground and where failure is not allowed, is Leni Riefenstahl’s cinematic gaze dangerous today? “When you watch footage from military parades in Russia you can discover the aesthetics of Riefenstahl. A lot is present. And also the ideology by celebrating the strongness, the male heroism, and with the contempt of the weak. That’s the ideology of fascism. And when you think about fakeness, for example, Riefenstahl is the prototype of fakeness. And it’s so present. We have a lot of politicians that just repeat lies, and the longer they repeat the lies, they really are convinced it’s the truth. And many people believe it. When you look at Riefenstahl, you will understand how fakeness is produced, and why there’s a longing for fakeness. People need them. People need lies, and that’s horrifying”.

The post “Riefenstahl”, interview with director Andres Veiel appeared first on Fred Film Radio.

Welcome to our daily insights from the 81. Venice International Film Festival, with Angelo Acerbi and Carl Spence.

Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.

Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.

Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!

The post Venice Film Festival English Daily – 29th August appeared first on Fred Film Radio.

Every day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several critics from all over the world talking about this year’s Venice festival movies, the actors and actresses attending the festival, as well as takes you into the magical atmosphere of the Venice Film Festival.

The post Highlights and film critics from the 81th Venice Film Festival – episode 29/08 appeared first on Fred Film Radio.

“Beetlejuice Beetlejuice” is the sequel to the 1988 iconic film by Tim Burton. The film opens the 81st Venice International Film Festival.

Confirming the original cast, including Michael Keaton as Beetlejuice, Winona Ryder as Lydia and Catherine O’Hara as Delia, the film welcomes new characters and brilliant new actors.

Willem Dafoe joins the Burtonian world in the role of Wolf, a cop/actor of the underworld and Monica Bellucci as Delores, Beetlejuice’s evil ex-wife and souls sucker.

At the Venice Film Festival, Bellucci and Defoe describe Burton’s energy on set and the magic of entering his world.

Thanks to Monica Bellucci’s presence, Burton could finally make “Beetlejuice Beetlejuice” a homage to Mario Bava and Italian horror films.

The post “Beetlejuice Beetlejuice”, interview with Monica Bellucci and Willem Dafoe appeared first on Fred Film Radio.

In a engaging interview, the Quay Brothers, renowned directors, share their insights on their latest film in the Giornate degli Autori section, “Sanatorium Under the Sign of the Hourglass”, which draws profoundly from the writings of Bruno Schulz. The brothers elucidate that Schulz’s work, rich in its intricate blending of reality and fantasy, resonates deeply with them. They find inspiration in Schulz’s ability to evoke a dreamlike quality, which allows them to create a narrative that is both eerily familiar and beautifully surreal, mirroring the worlds Schulz crafted in his literary works.

The Quay Brothers highlight their unique technique of integrating puppetry with live-action, which vividly depicts Jozef’s journey through a labyrinth of memories and visions. This artistic choice reflects the dichotomy between reality and the dream state—one of the central themes in Schulz’s narrative. By employing puppets, they embody the concepts of transformation and fragmentation, core aspects of Jozef’s inner turmoil. As Schulz manipulates time and memory, the brothers manipulate physical forms, enhancing the viewer’s experience and reflection on overlapping realities.

Reflecting on their artistic evolution, the Quay Brothers credit their formal education at the Philadelphia College of Art and the Royal College of Art as foundational to their distinctive storytelling style. Their educational background provided them with a robust foundation in visual arts and design, encouraging experimentation beyond conventional narrative structures. Influenced by literary figures like Schulz and Kafka, they strive to create films that challenge traditional perceptions and push the boundaries of storytelling.

A notable element in “Sanatorium Under the Sign of the Hourglass” is the inclusion of an ‘optical box.’ The Quay Brothers explain that this object serves as a powerful metaphor for perception itself. It embodies the idea of looking beyond the surface—a recurring theme in Schulz’s work. As Jozef interacts with the Optical Box, he confronts his inner self and delves deep into the layers of memories that shape his identity. The poignant connection between the box and loss, echoed through the imagery of containing the deceased retina of its owner, aligns seamlessly with Schulz’s exploration of the haunting presence of the past.

Music is another cornerstone in the Quay Brothers‘ creative process. They describe music as a character within their films, instrumental in creating an emotional landscape that elevates the visual storytelling. Composers such as Karlheinz Stockhausen and Krzysztof Penderecki enhance the narrative depth in their projects. In the case of Schulz’s writing, rich with rhythm and nuance, music adds another layer of complexity, resonating with the multi-faceted experiences contained within both Schulz’s literary works and their film.

The conversation also touches on how their films seamlessly traverse various artistic realms, from theatre to live-action, which allows for an evolution that aligns with the themes of memory and identity found in Schulz’s writings. The Quay Brothers emphasize that their work will continually evolve, promising to delve deeper into how memories shape realities and identities, reflecting Schulz’s fragmented narrative style.

In conclusion, the Quay Brothers express their gratitude for the opportunity to discuss the intertwining of literature and film. By drawing from Bruno Schulz’s rich narratives, they illuminate new paths for understanding both his literature and their artistic vision. The exploration of themes such as memory and identity not only pays homage to Schulz but also enriches their filmmaking.

The post “Sanatorium Under the Sign of the Hourglass”, interview with directors Quay Brothers appeared first on Fred Film Radio.

Welcome to our daily insights from the 81. Venice International Film Festival, with Angelo Acerbi.

Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.

Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.

Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!

The post Venice Film Festival English Daily – 28th August appeared first on Fred Film Radio.

At the Locarno Film Festival, Fred Film Radio interviewed Ramon and Silvan Zürcher, the director and producer of “The Sparrow in the Chimney”, featured in the International Competition. This film marks the conclusion of their Animal Trilogy, a series that delves into family dynamics with a unique blend of lightness and darkness.

The animal trilogy

The Zürcher brothers began their Animal Trilogy with “The Strange Little Cat” in 2013, followed by “The Girl and the Spider“. “The Sparrow in the Chimney” concludes this thematic journey. “We saw that these three films are like siblings,” Ramon explains. The trilogy explores formal and thematic contrasts, such as the interplay between static and dynamic elements, a recurring motif throughout their work. In this final instalment, the film evolves from the static portrayal of family life into a story of liberation, both thematically and in the movement of the camera.

“The Sparrow in the Chimney” portrays a family navigating dysfunction, with the story gradually unfolding into a fairytale-like liberation. The presence of animals, particularly those capable of flight, symbolizes this theme. Silvan notes, “These animals are important for the liberation story,” emphasizing the symbolic role of sparrows, butterflies, and fireflies.

As brothers, Ramon and Silvan Zürcher have a dynamic working relationship. Silvan Zürcher describes their collaboration as fluid, with roles shifting depending on the project. While Ramon Zürcher directed and wrote “The Sparrow in the Chimney“, Silvan produced it, maintaining a partnership that allows for open conflict and resolution. “We speak out our disagreements,” says Silvan, likening their creative disputes to a catalyst that propels the project forward.

Karen, the film’s central character, embodies the film’s exploration of transformation. Ramon Zürcher designed her as two distinct characters: the first Karen, static and reserved, contrasts sharply with the second, more liberated Karen. This duality is mirrored in the film’s overall structure, which moves from order to chaos, reflecting Karen’s internal journey.

The Zürcher brothers are drawn to contrasts, both in character dynamics and cinematic techniques. They juxtapose a serene, idyllic setting with underlying tensions and dark, passive-aggressive family interactions. The film’s contrast between light and darkness, order and chaos, mirrors the characters’ psychological landscapes, creating a rich, layered viewing experience.

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