FRED Film Radio - English Channel

At the 82nd Venice Film Festival, “Qui vit encore” emerged as a poignant documentary capturing the raw stories of Gaza’s refugees. Directed by Nicolas Wadimoff, the film offers an intimate glimpse into the lives of nine survivors who recount their experiences amid ongoing conflict. One of them is Mahmoud Jouda, who shares with FRED his tragic experience of displacement. The director’s innovative approach, using a symbolic map of Gaza drawn on a black felt table, serves as a powerful visual device to evoke the themes of survival, displacement, and memory.

Wadimoff’s deep connection to Gaza is evident in his detailed storytelling process. He explains that giving time to the voices and testimonies of the refugees was central to his documentary. “I wanted the audience to feel what I felt when I heard these stories,” he says, emphasizing the emotional intensity that inspired the film.

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Writer-Director Benny Safdie lands the 82nd Venice Film festival 2025 competition with “The Smashing Machine“.

The film about pioneering UFC and Mixed Martial Art fighter Mark Kerr, sees Dwayne “The Rock” Johnson fully inhabiting the man and the machine in a moving performance.

It was actually Johnson’s idea to adapt Kerr’s story to the big screen: “He approached me in, I think, 2019, to possibly do this movie – Safdie recalls. As soon as I saw the documentary about Mark, I related to so many aspects of his personality. Just the element of having to put yourself aside for other people, hide your emotions, hide your feelings, for the support of others and the constant pressure maybe to do that. And I just I just got the guy and I loved him and I threw an unspoken feeling. I just knew Dwayne felt exactly the same way“.

“The Smashing Machine” reunites Dwayne Johnson with his longtime friend, actress Emily Blunt in the role of his partner. Their love relationship is at the centre of Mark Kerr’s story as they struggle to make it work while going through major transformations in life.

Benny Safdie then walks us along his work with the music in the film, especially when he had Dwayne Johnson dancing to his work out routine on Elvis melancholic version of My Way.

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We conducted an interview with director Roderick Warich, focusing on his film “Funeral Casino Blues”, which was selected for the Orizzonti section at the 82nd Venice Film Festival. Warich delves into the profound themes of memory loss and the burdens carried by his characters throughout the film.

Warich explains that the themes in “Funeral Casino Blues“, especially disappearances, were influenced by the film “La Ventura“, which had a significant impact on him. He describes how challenging it can be to translate cinematic language into words but emphasizes his interest in exploring the mystery of absence—an element that adds emotional depth to his storytelling.

Choosing Thailand as the setting, Warich aimed to explore the “ghosts of globalization” and shed light on the often invisible working class. He intentionally excluded Western characters to focus on stories of marginalized communities, highlighting their experiences and struggles. This decision emphasizes the film’s focus on local realities within a globalized world.

Warich clarifies that “Funeral Casino Blues” is not solely about Thailand-specific issues but addresses broader themes of economic disparity. The film examines how money can circulate freely across borders while the working class remains restricted and marginalized. While the film contains romantic elements, it also carries strong political undertones, shedding light on these global economic injustices.

The title “Funeral Casino Blues” comes from the funeral casinos found in rural areas, where mourning, alcohol, and illegal gambling converge. This paradoxical imagery of death mixed with life captures the core essence of the film. The “blues” inspiration draws from titles like “Miami Blues” and “Cowboy Bebop”, aiming to avoid the perception of an overly pretentious art house film while adding a cultural layer.

Having previously written “The Universal Theory”, which competed for the Golden Lion in 2023, Warich expresses his desire to focus more on directing and less on writing. He acknowledges the financial challenges filmmakers face today and questions the relevance of art in a rapidly changing world. Nonetheless, he remains passionate about cinema’s power to provoke thought and foster reflection.

Warich reflects on the urgency of current social and political issues. While he questions whether cinema can truly keep up with the speed of societal change, he encourages viewers to watch “Funeral Casino Blues”, hoping it will inspire insight and reflection. Despite his doubts, he believes in cinema’s potential to provoke awareness and dialogue.

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Interview during the 82nd edition of Venice International Film Festival with Ildikó Enyedi, director of the film “Silent friend”, and actors Luna Wedler and Enzo Brumm. The production, part of the official selection in Venice Film Festival 2025, talks about our connection with nature and between each other, and is divided in three different timelines.

Those periods are: the early 20th century, the 1960s-70s, and the pandemic 2020. Each timeline reflects distinct artistic choices that mirror the changing human perception across eras. The early 1900s segment utilizes black-and-white film, emphasizing the rigid structure of life during that period; the 1960s-70s section bursts with color and experimental visuals, capturing the sensuality and revolutionary spirit of the flower power era; the modern segment, set amidst the isolation of 2020 during the COVID-19 pandemic, employs digital visuals with sharp precision.

Ildikó Enyedi emphasizes that the use of different formats and styles serves to express the evolving perceptions of reality rather than just depicting historical periods. “The visual choices are a way of showing how human perception shifts over time,” the director explains. “From rigid structures to sensory experimentation, to digital clarity, each era has its language.”

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The Awards of the 13th edition of Venice Final Cut have been assigned.

The industry program supporting films in post-production from Africa and Arab countries (Iraq, Jordan, Lebanon, Palestine, Syria and Yemen) has awarded the film in post-production: The Station (Al Mahattah) by Sara Ishaq.

The 2025 edition of Final Cut in Venice received an unprecedented 78 submissions—a 50% increase from the previous year—demonstrating growing interest among filmmakers in harnessing the festival’s opportunities.

Alessandra Speciale, head of Final Cut in Venice, expresses her satisfaction with the high caliber of projects, noting the inclusion of films from Arab countries, Sub-Saharan Africa, and Yemen for the first time.

She emphasizes the importance of balancing regional representation, particularly highlighting the challenge of sourcing quality films from Sub-Saharan Africa. This year, three African titles made the cut, a testament to the festival’s expanding reach and commitment to amplifying marginalized voices. Moreover, the selection reflected a significant presence of women filmmakers, reinforcing the festival’s dedication to gender equality.

Yemeni Stories Take Center Stage

One of the standout achievements  of this year’s edition of Final Cut in Venice was the inclusion of Yemeni films, a region often underrepresented in international cinema. Sarah Ishaq, the director of the festival-winning project, The Station shares her emotional journey throughout the process. Her film explores the lives of women gathering at a petrol station amid ongoing conflict, emphasizing themes of sisterhood, resilience, and survival.

The story is inspired by personal experiences during the war in Yemen, focusing on relationships among women trying to protect their families in times of crisis. Ishaq admits she felt vulnerable sharing her work in its early stages but was deeply moved to see her film acknowledged at Venice, alongside another Yemeni project. “It’s very special to have Yemeni voices represented at this level,” she says, highlighting the emotional resonance of sharing stories from her homeland.

With a growing recognition of the transformative power of cinema, Venice Final Cut in Venice proves once again that stories rooted in authenticity and shared humanity have the potential to resonate worldwide, fostering empathy and understanding across borders.

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Director Nawapol Thamrongrattanarit discusses his film “Human Resource,” presented in the Orizzonti section of the 82nd Venice Film Festival. This marks his return to Venice after 12 years, a meaningful homecoming that fills him with joy.

Thamrongrattanarit highlights his shift in focus from death, as explored in “Die Tomorrow,” to birth in “Human Resource.” The film begins with a tiny dot, symbolizing the start of life, and later depicts a circle of ashes, representing its end. The director confirms this deliberate mirroring, explaining that the film stems from his reflections on whether or not to have children. This introspection led him to explore the very meaning of birth, symbolizing a return to the fundamental roots of human existence.

Thamrongrattanarit recognizes that topics like birth and death are somewhat taboo in Thailand. He anticipates that “Human Resource” might face a challenging reception at home, as it tackles these sensitive subjects and questions societal pressures around reproduction. He shares insights from conversations with mothers, revealing that even they sometimes find it difficult to articulate their reasons for having children, often attributing it to both instinct and societal expectations of maintaining the “perfect family.”

The protagonist, Friend, is portrayed as detached and enigmatic. Nawapol Thamrongrattanarit explains that his collaboration with the actress aimed to evoke this ambiguity, allowing viewers to interpret her character freely. He views Friend as a good mother, deeply concerned about the challenges of bringing new life into the world and ensuring her child’s well-being. This internal conflict is subtly conveyed through her expressions and body language, as openly voicing such doubts remains a societal taboo.

Laura Della Corte raises the issue of toxic work environments—a concern that resonates globally. Thamrongrattanarit draws from his own experiences working on commercials and from observing his friends’ professional lives. He notes that many people find ways to cope and even to discover hope amidst these challenging settings, often creating their own narratives for survival. He refrains from judging these coping mechanisms, acknowledging that individuals can sometimes find moments of joy even in toxic situations. This sense of neutrality is reflected in “Human Resource,” which deliberately avoids offering easy answers or solutions for its characters.

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Global Critics Venice Voice, hosted by internationally renowned film critic Rita Di Santo, is the daily podcast of the 82nd Venice International Film Festival, produced by FRED Film Radio directly from the Lido di Venezia.

Each episode takes listeners inside the Festival with exclusive and thoughtful conversations with leading international film critics, and in-depth analysis of the year’s most anticipated films.

Rita Di Santo and her guests bring to life the unique atmosphere of Venice, offering a rare insider’s view of the stories, talent, and cinematic moments that make the Mostra one of the world’s most celebrated cultural events.

In this episode of Global Critics Venice Voice Rita Di Santo is with Fernando Lima (film critic former artistic director of Mar Del Plata, Agentina) .

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In an exclusive interview at the 82nd Venice Film Festival, Fred Film Radio speaks with Alexander Rodnyansky and Andrei Alferov, the director and producer of “Notes of a True Criminal,” presented out of competition.

A Personal Journey Through War

Venice Veteran

Footage and Collaboration

The Over-Documented War

Surviving and Preserving Humanity

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Director Akio Fujimoto and producer Kazutaka Watanabe discuss the making of “Hara Watan” (Lost Land), a powerful film featured in the Orizzonti section at 82nd Venice Film Festival 2025. This personal drama highlights the experiences of Rohingya refugees—a topic that weighed heavily on Fujimoto after 12 years working in Myanmar.

Fujimoto explains that his long-standing connection to the Burmese community made him acutely aware of the silence surrounding the Rohingya crisis. Witnessing some Burmese express empathy on social media after the coup strengthened his resolve to break the silence. “Hara Watan” became his means of shining a light on this urgent issue.

The film centers on two young Rohingya children and their arduous journey to Malaysia. Fujimoto highlights the challenges of working with non-professional actors who primarily speak Rohingya. Communication involved complex translation processes—from Japanese to English and then to Rohingya. Co-producer Sojo Din played a crucial role, providing vital cultural and religious context that helped actors understand the emotions and nuances of their scenes.

Sharing genuine emotion was paramount during filming, transcending mere verbal communication. Din’s contribution was essential in fostering authentic connections and achieving a sincere portrayal of the Rohingya experience. Notably, the film marks the first use of the Rohingya language, adding an extra layer of authenticity and respect.

Fujimoto’s dedication and the collaborative spirit of the team yielded a film that promises to be a deeply moving and thought-provoking exploration of the Rohingya refugee crisis, shedding light on a profound human suffering often left in silence.

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At the 82 Venice International Film Festival, the film “One Woman Wa Bra“, one of the titles included in the program of Biennale College Cinema, captivated audiences with its compelling narrative set in a Kenyan village. The director Vincho Nchogu and producer Josh Olaoluwa shared insights into the filmmaking process, highlighting the intense yet rewarding journey of creating a film deeply rooted in African culture and women’s experiences. This documentary-style film explores themes of identity, land rights, and feminism, resonating universally with viewers worldwide.

Many were the challenges faced during production of “One Woman One Bra“, especially within the structured framework of the Biennale College program. “It was very intense,” Vincho Nchogu explained . “They provided little space to breathe but ample space to create.” The strict budget limits meant every decision had to be deliberate, but collaborative effort and goodwill among the team made through managing constraints and kept the project authentic. Josh Olaoluwa pointed out the importance of a clear financial plan and the value of working with passionate collaborators. “We knew our story was strong, and everyone involved enjoyed the process. That unity was crucial in handling the budget and ensuring the film’s integrity“.

“One Woman One Bra” presents the story of a woman in a Kenyan village who cannot receive land ownership documentation because she lacks known parentage, marriage, or children—key ties needed for land titles. This narrative underscores the concept of kinship and societal expectations. Vincho Nchogu remarked, “It’s similar to applying for a visa—you need to prove ties to the land, whether family or business.” The film skillfully depicts her quest to find alternative ways to claim her right to land, including uncovering a childhood magazine cover with her face. The woman’s inventive approach mirrors the broader quest for recognition and individual identity, especially as she seeks acknowledgment beyond societal expectations.

Although initially intended as a personal exploration of womanhood, the film evolved into a powerful feminist statement. “Questions about women’s independence aren’t directed at men or boys; they focus on women’s agency,” the director explained. The story examines how community and societal pressures can restrict women’s self-expression, particularly as they age. A poignant scene features young women in the market discussing femininity—one states, “I can live without a man, but I cannot live without a child.” This highlights how societal norms equate womanhood with motherhood, and the film invites viewers to challenge these conventions.

The film’s visual aesthetic, praised for its beauty, was shaped by collaborative effort between Vinoniaogu and her Director of Photography. Initially, the plan was to shoot in northern Kenya’s desert regions, but discussions led them to focus on a more lush, traditional area in Loita, offering a landscape that better suited the story’s emotional and cultural context. Vincho Nchogu emphasised the importance of location and authenticity, involving local women in storytelling and script development. “They asked questions, suggested changes—this collaboration enriched the narrative and ensured it truly represented their lives,” she said.

“One Woman Wa Bra” exemplifies the power of storytelling to bridge cultures and highlight social issues. The collaboration between the filmmakers and local communities enriched the film’s authenticity, making it a standout entry at Venice. The project’s reception affirms that stories of African women, land rights, and community are not just regional but resonate globally, shedding light on universal struggles for recognition and independence.

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