FRED Film Radio - English Channel

PODCAST: FRED’s Matt Micucci interviews Dariusz Gajewski, director of the film Strange Heaven from the 2016 Febiofest Prague International Film Festival

To listen to the interview, click on the ► icon on the right, just above the picture of the film

Is it enough to have the best intentions in mind to do good. This is something Dariusz Gajewski examines in his latest feature Strange Heaven. Here, the story of a Polish family living in Sweden and seeing her child being taken away by social services seems to hence represent something more.

Gajewski talks about the contrast in culture between Poland and Sweden and three different languages in the film – Swedish, Polish and English. On top of this, we ask him about how he worked with the young actress who plays the important role of the child in the film, and where Strange Heaven will be screening in the near future as well as why he thinks it should particularly be screened in Europe.

STRANGE HEAVEN: The family drama about cultural dialogues, or, more specifically, about cultural differences, is inspired by true events when Polish children in Scandinavia were removed from their families and placed in foster care. Not succumbing to a black-and-white interpretation, the film sensitively ponders the consequences of people acting with best intentions. A Polish family with a seven-year-old daughter lives in a small town in northern Sweden, looking for peace and prosperity. After a series of misunderstandings, the child is taken away by Swedish social services, and the parents have a month to get the girl back before she’s permanently adopted.

Obce Niebo / Strange Heaven 2015 TRAILER from Kuba Kosma on Vimeo.

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PODCAST: FRED’s Matt Micucci interviews Armel Hostiou, director of the film Stubborn from the 23rd Febiofest Prague International Film Festival.

To listen to the interview, click on the ► icon on the right, just above the picture of the film

Love can make you happy, love can make you sad. In the case of Stubborn, the feature film by Armel Hostiou, love is a destructive force.

The “stubborn” character in this film is Vincent, a Frenchman who travels to America to win his ex-girlfriend back. We discuss with the director this theme, as well as other elements in the film that contribute to its being so powerful, such as the setting of the city of New York being a character in the film in its own right.

Hostiou tells us that he wrote the screenplay with actor Vincent Macaigne in mind for the lead role, and we discuss his contribution to the overall project. We also talk about the production itself, and his decision to film a final act of the film almost a year later, after getting some additional funding.

STUBBORN: New York City is the stage for thousands of stories of love, breaking up and rediscovering lost love every day and night. Vincent travels from France to NYC in hopes of getting back his ex-girlfriend, Barbara. However, she has a new lover and is satisfied with her life, unlike loser Vincent. Vincent’s conviction that he will get her back with a grandiose romantic gesture clashes with Barbara’s desire to send Vincent back to France and out of her life. In an almost documentary style, the intimate New York odyssey follows the path of love which transforms into obstinate desperation in the merciless metropolis of random encounters.

STUBBORN Trailer from BOCALUPO FILMS on Vimeo.

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PODCAST: FRED’s Matt Micucci interviews Peter Gašparík, screenwriter of The Cleaner from the 2016 Febiofest Prague International Film Festival.

To listen to the interview, click on the ► icon on the right, just above the picture of the film

Loneliness and the effects of childhood trauma. These are the two driving elements in The Cleaner, a Slovak giallo that marks the second collaboration between director Peter Bebjak and screenwriter Peter Gašparík. The two wrote the screenplay together, and Gašparík talks about where the inspiration of the film came from. Deepening the effect of the study of the theme of loneliness, is the approach used for the feature, which makes use of very little dialogue. We ask him about the challenges of using this particular approach, and how important the casting was and what the actors brought to the table in terms of making things that might have appeared to be challenging to the final work.

THE CLEANER: Tomas works for a funeral service as a cleaner. He gets the keys to the apartments of the deceased and scrubs dirt and blood while relatives mourn. He enjoys hiding behind wardrobe doors or under beds, spying on the grieving guests who have no idea that the funeral service worker has stayed a bit longer. When the granddaughter of a dead woman visits the flat, Tomas in his hideout witnesses something not intended for the eyes of a stranger. After the romantic Apricot Island (2011) and horror Evil (2012), Slovak director Peter Bebjak switches genres once again, this time presenting an unsettling drama.

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PODCAST: FRED’s Matt Micucci interviews actress Emília Vášáryová talks about her role in Eva Nová from the 2015 Febiofest Prague International Film Festival.

To listen to the interview, click on the ► icon on the right, just above the picture of the film

After meeting director Marko Skop at the Torino Film Festival last year, FRED catches up with the leading actress of Eva Nova, Emilia Vasaryova. Vasaryova’s over fifty year career has earned her the reputation as the First Lady of Slovak Theatre and Film.

In her latest turn in Skop’s film, she takes on one of her most difficult roles to date, in the form of the titular characters, an old washed up actress with a history of substance and alcohol abuse who tries to start life anew against all odds, including a near impossible reconciliation with her estranged son. A brave turn by Vasaryova, whose presence dominates the film, and as the camera looks upon her sometimes mercilessly, in the most physical moments.

We ask her about how her journey in the making of this film lasted, the different versions of the script that existed before the final one. We also ask her about the use of images, film posters and film stills from her own works, another element that shows her commitment not only to the character to the film. Vasaryova explains that she herself does not have a history of alcoholism, nor does her family, but the story of downfall is one that she has seen take place among other actors and actresses. This observation makes us reflect about the similarities between reality escapism in the form of acting, and in the form of alcoholism.

It is a real treat for FRED to be joined by Vasaryova, whose sunny personality can be heard all throughout the interview. “Life is tragicomic,” she observes. And Eva Nova is a feature that shows us just that.

EVA NOVA: After several previous attempts, Eva is leaving rehab once more, ready for the outside world and determined to stay sober. Above all, she hopes to gain the forgiveness of her family and especially her son, who banishes her with just a suitcase upon her return. Once a well-known actress, famous for her roles as well as her alcoholic escapades, Eva is starting from scratch. The subtle and authentically precise story about a family, alcoholism, and rediscovering one’s dignity is governed by attention to detail. The feature debut of Martin Skop, a documentary director, features excellent performances, especially by Emilia Vasaryova in the role of her life.

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PODCAST: FRED’s Matt Micucci interviews Hélène Choquette, director of the documentary A Dog’s Life, from the 2016 One World Human Rights Documentary Film Festival.

To listen to the interview, click on the ► icon on the right, just above the picture of the film

A dog is a man’s best friend. However, very often, a dog is much more than that. This is certainly the case for the homeless people director Helene Choquette filmed over a period of time in Canada for her latest documentary feature A Dog’s Life.

In this film, dogs also serve the purpose of shining a light on the pressing topic of homelessness, and the many different ways in which it can occur. This is a problem that materialises from different events, from drug addictions to mental illness. It is also something that doesn’t always occur on the streets; it can be found in shelters, or in cars. By focusing on the stories of individuals, Choquette humanizes the topic, and allows it to connect with the viewer in what is a very touching, opening experience.

We ask her about how she chose her protagonists, and the impact to taking her camera to their extreme conditions, filming them over a period of time. She also reveals that she wanted to keep her film “institution-free, ” opting instead for a more personal approach, which involved a lengthy issue. Finally, we ask her about her opinion on the representation of homelessness and the general media, as well as what the future holds for A Dog’s Life, which had its international premiere in Prague at the 2016 One World Film Festival.

A DOG’S LIFE: Homeless, with no family, job or belongings, but with the best possible friends in the world, for whom they are willing to sleep outside in icy weather, sharing what little they earn or beg. For 18 months this Canadian documentary tracked 10 homeless people who, thanks to the strong bonds they have with their four-legged pals, can cope better with life on the street, in a squat or shelter. Some are therapy dogs; others provide motivation to kick addiction. But all are the most faithful mates with whom these people have had a longer and stronger relationship than with any human.

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PODCAST: FRED’s Matt Micucci interviews Arto Halonen, director of White Rage, which had its international premiere at the 2016 One World Film Festival.

To listen to the interview, click on the ► icon on the right, just above the picture of the film

What makes an apparently harmless person reach breaking point, and commit terrible acts of violence? Director Arto Halonen tries to come up with an answer with this documentary, which illustrates a scholar’s theory that revolves around the principle or “white rage,” in which these actions are inspired by childhood traumas and repeated acts of bullying.

Since its theatrical release on its home turf of Finland, White Rage has inspiredmany debates among people, and now the documentary had its international premiere in the programme of the 2016 One World film festival in Prague. We caught up with the director to talk about the film, how he first first came across this theory, how the film was constructed by blending the line between the documentary and fictional form and how this film has inspired and will inspire more discussions on its central topic.

WHITE RAGE: As a boy Lauri experienced harsh bullying, in elementary, middle and high school. Everywhere he seems to have attracted the darker side of people and became an easy target. Following other attacks and humiliations the anger in him grew; he became interested in guns and fantasised with mass murder. The documentary is formally built on an impressive idea. Lauri’s voiceovers tell of the darkest recesses of his imagination and bruised soul, which are visually depicted in re-enacted scenes and TV news footage of bloody attacks by young people on their classmates, by people who likely went through the same hell as Lauri, but whom no one noticed until it was too late.

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PODCAST: FRED’s Chiara Nicoletti interviews Ira Sachs, director of Little Men from the 66th Berlinale.

To listen to the interview, click on the ► icon on the right, just above the picture of the film

Filmmaker Ira Sachs returns to FRED’s airwaves to talk about his latest film Little Men, from the Generation K plus section of the 66th Berlinale. Sachs reveals how he could never work on something he hasn’t somehow personally experienced. Love is Strange was born out of a moment in which he was reflecting of long term relationships. Little Men comes from a time in his life when he finds himself more focused and devoted on his children and his husband.

Sachs comments on his casting choices and how he chose Paulina Garcia after literally falling in love with her at the 2012 Berlinale, when he watched her in the film Gloria by Sebastian Lelio. To cite Sachs’ words, “Paulina is a natural artist, her performane is an elevated form of naturalism.”

LITTLE MEN: Summer in Brooklyn. Jake’s parents have just moved into the house that used to belong to his grandfather. Tony’s mother has been renting the shop on the ground floor forever. The two 13-year-olds quickly discover their shared interest in art, computer games and girls. Together, they dream of transferring to the renowned La Guardia High School in the autumn. Soon they become allies, not only against the other boys on the block, but also when it comes to the rent dispute between their parents. Attempting to stem the inexorable effect the adult world is having on their genuine friendship, they stage a headstrong protest. Once again renowned Indie director Ira Sachs intuitively explores the family and moral conflicts with emotional depth.

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PODCAST: FRED’s Chiara Nicoletti interviews Pernilla August, director of the film A Serious Game (Den allvarsamma leken) from the 66th Berlinale.

To listen to the interview, click on the ► icon on the right, just above the picture of the film

Director Pernilla August elaborates on the difficulties of adapting a classic novel of the Swedish tradition, titled Den allvarsamma leken. She also talks about how her long.term friendship and collaboration with Ingmar Bergman influenced her directing career, Pernilla says that she learned not to give up on her intuitions.

A SERIOUS GAME (Den allvarsamma leken): Once upon a time Lydia was the innocent girl, the painter’s daughter, the girl that the young promising journalist Arvid fell in love with during a lunch outing on a beautiful island in the Stockholm archipelago. Did he fall for the girl or the idea of pure, untainted love, the idea of love at first sight? The attraction between them is interrupted by the social structures of Stockholm’s society at the turn of the 20th century, restraining them from taking the leap into marriage. And so love slips away. A decade later, they meet when they are both married with children, but the desire takes the upper hand and they end up having an affair. An affair that forces the couple to reflect on the time they’ve spent apart and how it has changed them both. Their affair, their serious game, also comes with unforeseeable consequences in theirs as well as other people’s lives.

Based on the best selling classic novel by Hjalmar Söderberg and set in Stockholm in the beginning of the 20th century, the story about the complex romance between Lydia Stille and journalist Arvid Stjärnblom has touched reader’s hearts for over a century. In the hands of Danish screenwriter Lone Scherfig (Italian For Beginners, An Education, The Riot Club) and director Pernilla August (Beyond) the epic scope of this bittersweet love story has finally been made into a full cinema experience.

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PODCAST: FRED’s Bénédicte Prot interviews director André Téchiné, who presented his latest film Being 17 (Quand on a 17 ans) at the 66th Berlinale

To listen to the interview, click on the ► icon on the right, just above the picture of the film

André Téchiné tells us more about the experience of co-writing the script of this strikingly physical story about first times with the now well-established, talented young director Céline Sciamma (Girlhood). As he explains his choices to set the plot of Being 17 in a rural environment and to have Damien’s father working in the army, and as he describes the chemistry he was looking for in his two main actors, the veteran French filmmaker stresses the importance of being in touch with real life and respecting its natural flow.

BEING 17 (Quand on a 17 ans): Throughout their last year of high school, in a small rural town surrounded by the mountains, two boys with their lives ahead of them (thoughtfully and givingly embodied by Kacey Mottet Klein and Corentin Fila) experience the violent confusion of their age of first times and unknown feelings under the gentle watch, full of sense and sensibility, of the former’s mother (Sandrine Kiberlain).

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PODCAST: FRED’s Chiara Nicoletti interview Thomas Vinterberg, director of the film The Commune (Kollektivet) from the 66th Berlinale

To listen to the interview, click on the ► icon on the right, just above the picture of the film

One of the founding fathers of Dogme 95, Thomas Vinterberg, presented his latest film The Commune (Kollektivet) in competition at the 66th Berlin International Film Festival. The Commune is loosely based on the director’s own childhood experiences. The director in fact lived a part of his life in a commune, and he tells us what it was that made him want to make a film about it. For her leading performance in the film, Trine Dyrholm won the Silver Bear for Best Actress.

Click here to listen to our interview with Trine Dyrholm, who won the Silver Bear for Best Actress at the 66th Berlinale for her role in the film The Commune – FRED English channel

THE COMMUNE (Kollektivet): Erik and Anna are an academic couple with a dream. Together with their daughter Freja, they set up a commune in Erik’s huge villa in the upmarket district of Copenhagen. With the family in the center of the story, we are invited into the dream of a real commune; we participate in the house meetings, dinners and parties. It is friendship, love and togetherness under one roof until an earth-shattering love affair puts the community and the commune to its greatest test yet. The Commune is a humorous, delicate but also a painful and touching portrait of an entire generation. The film turns into a gentle yet confrontational declaration of love for a generation of idealists and dreamers who have long since awakened to reality.

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