FRED Film Radio - English Channel

Jonathan Stiasny presented his last film “Bowie: The Final Act” at Seeyousound Festival, in Turin. In this  documentary he explores the pivotal moments of Bowie’s music career and the late years of David Bowie’s extraordinary career and personal life. This film offers an intimate look at Bowie’s albums from the end of the 80’s on, including Blackstar, and the profound impact they had on those around him. Through insightful interviews and carefully curated footage, “Bowie: The Final Act” captures the essence of an artist driven by constant reinvention and artistic bravery.

“Bowie: The Final Act” focuses on David Bowie‘s last decade and some, pointing out previously underexamined works from the 90s onward. The film explores his constant reinvention, from his experimental albums to his late-career masterpieces like Blackstar. This approach allows viewers to understand how David Bowie constantly challenged himself, pushing artistic boundaries until his final moments. The documentary’s narrative-driven structure provides a nuanced portrayal of his last years, highlighting both his creative process and his personal reflections. It is a vital watch for anyone interested in Bowie’s enduring legacy.

A striking element of “Bowie: The Final Act” is its portrayal of the profound emotional impact of Blackstar. The film delves into the stories of those close to David Bowie during its creation, revealing a layered portrait of an artist confronting mortality. The final scenes, particularly the analysis of how Blackstar resonated after Bowie’s passing, are deeply moving and have left many viewers, including myself, in tears. This segment of the film captures the haunting beauty and significance of Bowie‘s last musical statement, making it a powerful tribute to his artistry. Johnathan Stiasny in his film truly emphasizes how this album became Bowie’s requiem, destined to influence generations to come.

“Bowie: The Final Act” offers an insightful and emotional exploration of David Bowie‘s final years, celebrating his relentless pursuit of artistic innovation. The film’s detailed interviews with collaborators and close friends enrich this narrative, providing new perspectives on his legacy. For fans and newcomers alike, “Bowie: The Final Act” stands as a testament to his daring spirit and creative genius—an essential watch that highlights why Bowie remains a timeless icon.

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After reaching the highest number of wins for direction,  cinematography, editing and costumes at the César awards, “Nouvelle Vague” by Richard Linklater, which reconstructs the birth of the legendary movement finally lands Italian cinemas, distributed by both Lucky Red and BIM, after successfully participating to Rome Film Festival.

When the Texan director  arrived at the Cannes Film Festival last year, in competition, with a film about the Nouvelle Vague (hence the title) and about the genesis of a monumental work such as Jean-Luc Godard‘s “Breathless“, many spoke of audacity and courage.

Making a film in French about a movement that effectively defined the cinematography of an entire country was indeed a challenge that Linklater pulled off successfully. The secret? Making it for fans like himself.

“This is not about remaking ‘‘Breathless’’, but looking at it from another angle. I want to dive into 1959 with my camera and recreate the era, the people, the atmosphere. I want to hang out with the New Wave crowd”. With this thought in mind, Richard Linklater first imagined Nouvelle Vague almost 13 years ago.

His intent was to make the dream of living that 1959 New wave atmosphere as he had pictured it the first time he watched a Godard film.

“I saw this film in my head, this black and white film about from 1959 and yes, that’s the best version of what I was hoping for.” Richard Linklater tells us at the Rome Film Festival where he received a Career Award.

Richard Linklater was ready to shoot the film already 10 years ago but then it didn’t happen. In the meantime, Jean-Luc Godard died.

Jean-Luc Godard was always known for never having particularly welcomed films about himself and his life. His reaction to Michel Hazanavicius’s “Redoubtable – Godard Mon Amour” was far from positive. Richard Linklater, however, admits he would have liked Godard to have seen the film. He loved being celebrated, especially by Americans, and perhaps, secretly, he would have taken pleasure in seeing himself through the eyes of an American director.

At the Cannes Film Festival, Cannes during his film’s press conference, a member from the press thanked Richard Linklater for having the audacity to make a French film as an American.

Was it audacity? The director of Boyhood elaborates: “I know on paper it sounds a little crazy: an American going to make a French film, but I felt it was my film to make because I wanted to make what the Nouvelle Vague looked like to people around the world”.

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Following “Apartment 7A” and her breakout horror hit “Relic“, writer and director Natalie Erika James presents at the 76th Berlinale for a Special Midnight screening, her new film “Saccharine“, after a successful premere at the Sundance Film Festival, back in January.

The film follows Hana (Midori Francis) , a lovelorn medical student who becomes terrorized by a hungry ghost after taking part in an obscure weight-loss craze.

“Saccharine is the culmination of my own personal reflections, explored through the lens of horror. It is an intimate look at one woman’s struggle with body image, self-worth, and shame-driven compulsion”. These are the words of Natalie Erika James, explaining, in her director’s notes, the themes guiding her third feature film.

The film comes from Natalie Erika James’ personal experience in her family as her father, while she was growing up, struggled with food and weight shaped much of her family’s life.

She used this experience and her ability to transform it into cinema blending body horror and psychological thriller, two genres that are much more nuanced and effective in showing, understanding, exploring these struggles.

By utilizing supernatural and body horror elements, the film portrays the haunting nature of internal battles related to body perception and mental health. The genre-savvy approach amplifies the emotional truth behind the characters’ experiences, making the story both impactful and entertaining.

At its core, “Saccharine” tells the story of a woman striving for love and acceptance in a world that often conditions conditional regard. The film highlights how a weight-loss journey, if not supported and guided in a way that safeguards mental health, does not guarantee self-acceptance; on the contrary, it can even worsen one’s self-perception.

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Brazilian director Gabe Klinger lands in the 76th Berlinale’s Panorama with his third film and second feature, “Isabel”, co-written by its protagonist, Marina Person.

The film marks the first time Klinger shoots in his own town São Paulo as he has only returned to live in his home country recently as he spent most of his life in Chicago, USA.

Isabel is the story of a sommelière in São Paulo’s fine-dining scene who dreams of escaping her controlling boss and opening her own wine bar. Is it a film about the journey of a sommelière in crisis?

“Isabel’s story is not just about a sommelière in crisis” – suggest Klinger and Person, “it’s about the human desire to find meaning in everyday moments and personal choices”.

The filmmakers know well that the character is a product of São Paulo’s middle class, that Isabel exists in a space of tenuousness and privilege. “No one’s gonna die,” one of Isabel’s fellow sommelières assures her, grounding us in reality by reminding us there is, in fact, a safety net to this story.

But the film is ultimately reclaiming the right—and giving its protagonist the opportunity—to desire a radical change in her life, even if, from the outside, it might seem as though she lacks nothing.

The city of  São Paulo plays a pivotal role in the film Isabel, acting as a vibrant backdrop that influences the characters’ lives. Klinger’s intention was to capture the authentic spirit of the city, portraying its chaos, beauty, and cultural richness. This setting becomes a character itself, adding depth to Isabel’s introspective journey. Shooting in  São Paulo allowed the creators to embed local flavors and social realities into the narrative, making the film a true reflection of the place that shaped its story and characters.

Creative Collaboration and the Making of the film

The creation of “Isabel” was a highly collaborative process, emphasizing the importance of shared vision. Klinger envisioned Marina Person, the film’s protagonist, not just as an actress but as a vital creative partner. Marina’s involvement in writing dialogues and shaping her character exemplifies the film’s democratic and inclusive approach. This synergy between creator and performer helped craft a film that feels genuine and resonant, emphasizing the importance of collaboration in capturing the film’s thematic essence.

The film chooses to approach Isabel defeats as we through languid melancholy rather than tragedy.

The film chooses to approach both Isabel’s defeats and her victories with a languid melancholy rather than through the tools of drama and tragedy. Melancholy is a feeling that permeates Klinger’s work, present as well in his previous film, “Porto”, and it becomes a fil rouge connecting the Brazilian director’s films.

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With “A Family”, Dutch director Mees Peijnenburg marks his return to the Berlinale, after previously premiering, back in 2020, “Paradise Drifters”. He’s considered one of the most talented filmmakers of his generation in the Netherlands and for this film, he could count on the participation of rising Dutch talents Finn Vogels as Eli and Celeste Holsheimer as Nina, alongside Carice van Houten (Game of Thrones, Black Book, Instinct) as their mother Maria, and Belgian actor Pieter Embrechts (Instinct, Stromboli, The Balloonist) as Jacob.

The film explores a difficult divorce through a special but painful point of view: that of the children of the family.

A Family is a compelling film that centers around a family falling apart, viewed through the perspectives of the children. The film draws from personal experience, highlighting universal themes of emotional safety and the silent struggles families endure.

“A Family is very personal and important to me”, declares the director.

The film uniquely examines family turmoil through the eyes of children, offering a fresh perspective on a familiar subject. It reveals how young characters mirror their parents’ behaviors, often acting with surprising maturity or childhood innocence. The film emphasizes how children’s perceptions are shaped by micro-events, which can have monumental effects on their emotional development. By zooming in on these seemingly minor moments, “A Family” demonstrates their profound impact on shaping individual identities and family cohesion.

Casting played a crucial role in capturing the nuanced performances required for “A Family”.

The director prioritized authentic portrayals by selecting actors who could embody complex emotional states convincingly. The lead actresses, especially Carice van Houten, bring an emotional vulnerability that deeply moves viewers. The young actors Finn Vogels and Celeste Holsheime were chosen for their raw, unpolished energy, which added authenticity and depth to their roles. Their performances illuminate the subtle, often unspoken, pains of a family in transition, making the film a powerful reflection on vulnerability and resilience.

The post “A Family”, interview with director Mees Peijnenburg appeared first on Fred Film Radio.

“No Good Men”, the third feature film by award-winning Afghan director Shahrbanoo Sadat opened the 76th Berlinale on February 12, 2026 at the Berlinale Palast.

“No Good Men” follows Shahrbanoo Sadat’s acclaimed works “Wolf and Sheep” (2016) and “Parwareshgah” (The Orphanage, 2019). Both films screened at Cannes’ Directors’ Fortnight and “The Orphanage” was supported by the Berlinale World Cinema Fund.

Together with her most recent film, “No Good Men”, they form the first three parts of a planned five-film series inspired by the female actor Anwar Hashimi’s unpublished autobiography as well as the filmmaker’s own life.

The film, to quote the director, is a political romantic comedy about a camerawoman at Kabul’s main TV station and her almost romance with her co-worker and most important TV journalist.

Shahrbanoo Sadat confesses that, until 2019, she had always flirted with the idea of writing something inspired by her everyday life as a young woman living in Kabul but as women and women’s rights were often over used to secure funding, especially from NGOs, she had always pushed away that idea.

Then she had a realization: “women’s stories are my stories, because I am a woman” she said and started to work on her Afghan rom-com, something that had never existed, so that she decided to make one, herself.

“Since the Taliban returned, many have begun romanticizing the previous era, claiming women had all their rights before 2021” comments Sadat in her press notes.  “I do not find this truthful. Sexism and patriarchal thinking were deeply rooted in Afghan society long before the Taliban’s return. That is when I realized my film is about the patriarchy” she claims.

“No Good Men”reveals a nuanced portrayal of Afghan society through the lens of a woman navigating patriarchy. The film delicately balances personal experience and societal commentary as with its portrayal of a woman living in downtown Kabul it offers insight into independence, systemic limits, and everyday resilience, making it a compelling reflection on modern Afghan life.

The phrase “No Good Men” in the film’s title encapsulates a complex exploration of gender roles and societal expectations. Sadat emphasizes that her film aims to depict not only the challenges women face but also the surprising existence of good men within a patriarchal system.

Despite that, Sadat faced considerable resistance when seeking support for her film, as some institutions found the story inappropriate. Despite receiving multiple rejections and the perception that her romantic comedy was incompatible with Afghan realities, she persisted. Her experience highlights the importance of artistic freedom and the fight to portray authentic stories of Afghan women and men, emphasizing that filmmaking can serve as a form of subtle protest and societal reflection.

Each scene and character in “No Good Men” underscores the resilience of women living amid restrictions. Sadat’s personal connection to the story—living in the same societal and geographical context—shapes the film’s light tone and organic storytelling.

The film demonstrates that even within a system set with many ceilings, hope and small acts of rebellion, especially through humor and love, can flourish. Ultimately, “No Good Men” emphasizes that understanding both the systemic patriarchy and the presence of good men in Afghan society is essential.

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From the directors of “Ghostlight”, Kelly O’Sullivan and Alex Thompson, “Mouse” is  premiering at the 76th Berlinale in the Panorama section.

The film is a moving coming-of-age story set in 2002 Arkansas, it is written by O’Sullivan as it is loosely based on her memories of being a high school teenager in her hometown of North Little Rock, Arkansas in the early 2000s.

It stars Katherine Mallen-Kupferer, who previously appeared in the cast of “Ghostlight”, as seventeen year’s old high school senior Minnie and Academy Award nominee and Tony Winner Sophie Okonedo as the mother of Minnie’s best friend, Callie.

“Ghostlight” has become pivotal to the film Mouse as it marks the filmmakers’ second collaboration with Chicago-based actors Tara Mallen and Katherine Mallen Kupferer, who played mother and daughter in “Ghostlight” and do so again in Mouse.

Katherine Mallen Kupferer confesses that, while her character in “Ghostlight” was and felt very similar to her, the one from “Mouse”, Minnie, was very different so she actually had to really “act” and therefore improving her acting technique.

Academy Award nominee Sophie Okonedo’s name was in Alex’s Thompson wishlist among the actors he would have liked to work with someday so with “Mouse” finally in the works, the two directors tried to make their dream come true and offered Okonedo the part of Helen, Callie’s mum. They sent her agent the screenplay of the film, along with a letter. What came afterwards, defined the film’s destiny: she said yes immediately.

“It was this beautiful, layered story about ordinary people going through stuff that a lot of us go through. The characters felt like real people” she said.

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Following up their 2024 breakout feature Ghostlight, co-directors Kelly O’Sullivan and Alex Thompson return with “Mouse”, premiering in the Panorama section at the 76th Berlinale.

The film, a delicate coming-of-age story starring Katherine Mallen-Kupferer, who previously appeared in the cast of “Ghostlight”, sees the young actress in the role of Minnie, a shy and awkward high school senior grappling with the difficult task of finding herself now that she no longer basks in the reflected light of her best friend, Callie.

“I think female relationships are so fascinating at that age because you can love someone and idolize them and also be so deeply jealous of them. One person takes up space naturally and then without meaning to she leaves less space for the other one.” Kelly O’Sullivan observes.

O’Sullivan, who also wrote the film, drew deeply from her memories of being a high school teenager in her hometown of North Little Rock, Arkansas in the early 2000s. With Alex Thompson she tried to describe the difficult journey of a teenager trying to define who she is and what she wants out of life.

Mouse is not only about a friendship but it’s also about the difficult relationship Minnie has with her mom. “Minnie, like so many teenagers, is deeply embarrassed by where she comes from and her family” says O’Sullivan, so, when she and Callie’s mom, Helen (Sophie Okonedo) are left without Callie, they will have to eventually fill an empty space in their life.

The post “Mouse”, interview with directors Kelly O’Sullivan and Alex Thompson appeared first on Fred Film Radio.

After directing two successful short films, “Víctor xx” (2015), winner of the Cannes Cinéfondation Award and “Farrucas” (2021, selected at Clermont-Ferrand, director and screenwriter from Almería, Spain, Ian De La Rosa presents his debut film,  “Iván & Hadoum” at the 76th Berlinale in the Panorama section.

The film just won the Teddy Award for best feature film.

“Iván & Hadoum” is a contemporary love story set in De La Rosa’s and also an heartfelt story of transformation as it delves into the personal journey of its protagonist, Iván (Silver Chicón) as he navigates his gender transition, family expectations, and the search for love. This powerful narrative invites viewers to reflect on what it means to be true to oneself amidst societal pressures.

“I needed to tell a love story that I could identify with, and that at the same time would invite viewers to fall in love again”. With these words Ian De La Rosa reveals the genesis of his debut feature.

“Iván & Hadoum” masterfully portrays love as a transformative force capable of inspiring personal revolution. The film centers on Iván’s deep love for Hadoum, which acts as a catalyst for his journey of self-acceptance and discovery. Director Ian de la Rosa emphasizes that love is the main driving force behind Iván’s decisions, illustrating how personal relationships can challenge and reshape identities. The film also highlights the importance of creating a love refuge where individuality is celebrated and embraced.

In “Iván & Hadoum” , the director aims to present a realistic and respectful portrayal of trans experiences. The film explores the complex dynamics within Iván’s family as after accepting his transition, they adjust to it, emphasizing that family support often involves a second process of transformation. A notable moment is when Iván’s mother states, “You don’t owe us anything,” symbolizing the liberation and acceptance that can come from honest communication. The film advocates for recognizing individual rights to exist without permission and underscores that love and support can foster profound change within families.

“Iván & Hadoum” also emphasizes that gender is a “mask” that individuals can choose and reshape, challenging traditional notions of masculinity and femininity. The film balances layers of societal, familial, and personal expectations, ultimately revealing that authentic intimacy and self-expression are vital for genuine connection. Its portrayal of non-normative sexuality and tender intimacy aims to normalize diverse experiences and encourage acceptance, making the film a compelling addition to contemporary cinema.

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To open the Panorama section of the 76th Berlinale, comes French filmmaker and video artist of Lebanese origin, Danielle Arbid with “Only Rebels Win”.

The film, set in Beirut, stars Hiam Abbass in the role of a middle-class widow with Palestinian roots who falls in love with a Sudanese young man, played by Amine Benrachid.

“Trapped by conventions that do not suit them, this modest and courageous woman and this vulnerable man are fighting against an entire society. Their love itself is a defiant gesture, a middle finger even. But everything has its price” says director Danielle Arbid.

Actress and filmmaker Hiam Abbass confirms that the film emphasize resilience and defiance against societal constraints and explores how love can become an act of resistance in challenging environments, making it a timely and universal story.

Danielle Arbid says in her press notes: “I can feel so acutely how freedom has become a daily battle for us all. It’s a global issue and struggle”.

The core message of “Only Rebels Win” is that sometimes, love and personal choice are the ultimate acts of rebellion. The film portrays characters who defy political and cultural pressures to chase happiness and authenticity.

The film’s protagonist Hiam Abbass embodies resilience in a world that often seeks to suppress individual freedom. By choosing love despite obstacles, the characters highlight how personal acts of rebellion can challenge oppressive systems. “Only Rebels Win” when they stand up for their identities and desires, no matter the costs.

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