FRED Film Radio - English Channel

I Matter by director Alina Şerban, presented in Venice Spotlight at the Venice Film Festival, explores the life of Rebecca, a Roma girl growing up within Romania’s child protection system, drawing on Şerban’s own experiences. Alina Şerban and Carla Fotea, the film’s producer, discuss the complex process of transforming lived realities into compelling cinema that aims to foster understanding and challenge stereotypes.

Şerban explains that her childhood was initially privileged before she experienced life within a Roma community and a children’s home, which profoundly shaped her perspective. She emphasizes that her goal was not to tell only her story but to incorporate the voices of others she worked with, including young people from orphanages. Her research involved creating short documentaries and theatre pieces to better understand what her younger self needed to hear, ultimately weaving these insights into the film’s fabric. Şerban highlights that I Matter is a multi-layered narrative, built from diverse perspectives, to enrich its emotional depth and authenticity.

Şerban discusses the importance of self-awareness in storytelling, especially when it involves marginalized communities. She reflects on her own process of unlearning stereotypes and shame associated with her Roma identity, which she previously internalized due to harmful portrayals in media. Her wants to present a humanized image of Romani people, moving away from exoticized stereotypes and instead offering a nuanced portrayal that allows for multiple identities within Roma culture.

Fotea shares that the production process spanned over four years, during which the team closely collaborated with young people from Romania’s child protection system. The team grappled with questions of cultural appropriation and the ethics of storytelling, ultimately supporting Şerban’s vision while respecting the community’s voice.

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Too Much Sugar, by Robert Greene, included in the Orizzonti selection, is a documentary with a peculiar story behind it. We had a chat with the director to know more about it and about his lead character.

Robert Greene explains that the collaborative form  is one he’s been followed and developed  over several films. It started with an encounter with Ryan  and an idea  and one of the best titles he ever heard.  6 kids, 5 different women, in and out of prison since when he was a kid. There was a lot there that needed to be told. So we really wanted to dive in and that’s how we started. And actually, Ryan on screen is a huge persona, he’s interesting, it’s fascinating, is um strong and also kind of very touching.

Robert knows what Ryan is. He’s a guy who went to prison for getting into fights. Most people just write him off. They both come  from similar backgrounds. Robert Greene knows a lot of guys like Ryan. When you meet him, you know, you just know there’s like this kindness and this willingness to try to keep moving forward and be better, especially if there’s a camera present. The camera could sort of make him feel like a hero but also make him understand mistakes that he’s made. It could do both things at once. I think that was, that was what we needed to happen.

Ryan has to be a better father because he didn’t have a father. So he’s like he’s projecting on, on his kids and in his life.  Robert Green knows form personale experience that when you grow up without a father one ends  up making that the focus of your life.  Real fatherhood is making space for other people. And it took a while for Ryan to learn that. The film that has also a kind of therapeutical aspect because on the story of  Ryan’s best friend, AccRite. He lost his kid by murder and  it was Ryan to convince him to use the media of cinema to heal.

Robert Green knows how much non actors want to do good. in this case though he thinks they’re all really compelling on camera and some of them are quite good actors. The most important thing is to understand that this is coming from a place of dreams. This is coming from a working class family who is using movies and thinking about movies like their dreams. They’re thinking about movies like movies represent a way to have a different life. And so when one understands that, seeing them deliver comedic lines that were written for them,  there’s a yearning in that and a fun in that, that is more preferable than some method acting.

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Union Town by director Barbara Kopple, presented in Venice Open at the Venice Film Festival, powerfully revisits the ongoing struggles of organized labor in America, highlighting the persistence of workers’ rights issues despite decades of change. Director Barbara Kopple and producer Hannes Hosp discuss the relevance of the film in today’s socio-political climate and its potential to inspire global awareness.

Kopple reflects on her return to themes of labor activism after many years, comparing her new film to her earlier work on “Harlan County, USA”. She emphasizes that, although tactics have evolved, the core issues remain the same: fair pay, safe working conditions, and respect on the job. Kopple highlights how the film portrays the ongoing battle against union-busting strategies, which include significant financial investments and aggressive tactics aimed at silencing workers. She notes that the film captures scenes that confront viewers with the realities faced by workers today, showing that the fight for dignity at work continues.

Hannes Hosp explains that the decision to produce Union Town was driven by Kopple’s longstanding commitment to labor issues and the opportunity to shed light on current struggles. He shares that gaining access to workers was challenging, especially given the risks faced by those willing to speak out. Despite these obstacles, many workers, including undocumented individuals, chose to share their stories, motivated by a desire to push for change.

Kopple and Hosp see Union Town as more than just a film; they view it as a historical document that captures a pivotal moment in the labor movement. They highlight the potential of cinema, especially documentary filmmaking, to shape public discourse and inspire activism, emphasizing that the enduring value of documentary cinema lies in its ability to record reality and motivate societal change.

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A Day in a Life of Joe: Chapter Phaedra by director Jacqueline Lentzou, presented in Orizzonti at the Venice Film Festival 2026, follows a seemingly ordinary day in the life of a 15-year-old boy in suburban Athens, gradually revealing deeper existential themes.

Jacqueline Lentzou discusses her latest film, A Day in a Life of Joe: Chapter Phaedra explaining that her film reflects her own way of experiencing life, caught between the tangible and the intangible. She describes her worldview as being inherently in-between, where the boundary between the real and the cosmic is blurred. Lentzou emphasizes that the universe, including the cosmic, is intertwined with everyday life, making the magical aspects of her film feel natural rather than fantastical. She highlights how the film’s narrative explores this interconnectedness, especially through the character of Joe, who often slips into dreamlike states that feel more real than reality itself.

The director’s inspiration for portraying the dreamlike and mystical elements of the film stems from her personal meditation practices. She believes that inner worlds contain a richness and authenticity often overlooked in conventional storytelling. Her experiences with meditation have shown her that what we perceive as dreams or surreal moments can sometimes be more truthful than waking life. This perspective led her to craft a narrative where dreams and reality coexist, questioning what is truly real and emphasizing the importance of inner experience.

Lentzou shares that the film was partly inspired by a tragic event in Athens in 2008, when a 15-year-old boy was killed. She wanted to portray a day in the life of a young person unaware of their impending death, emphasizing the innocence and vulnerability of youth.

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Until the Day Ends, presented in Orizzonti at the Venice Film Festival, is set against the backdrop of student protests and political divisions in contemporary Serbia. Director Jelena Maksimović’s film explores themes of youth, political activism, and personal transformation.

Maksimović explaines that her personal experiences heavily influenced the film, blending real-life memories with fictional elements to create a vivid portrayal of youth in Serbia. She aimed to depict the complexities of adolescence and the desire for freedom amid political unrest, emphasizing that her approach was to fictionalize her experiences rather than produce a documentary. The film’s narrative reflects her interest in capturing the emotional truth of a generation caught between tradition and change.

Until the Day Ends focuses on the love story between Lena and Stefan that serves as a lens to examine societal divides. Maksimović highlightes that the characters represent contrasting social backgrounds and political beliefs, one involved in anti-government protests, the other from a more privileged, conservative environment. She wanted to show how relationships and solidarity can challenge preconceptions and open new horizons for young people. Andrija Krivokapić shares that his character Stefan reflects the circumstances many young men face, shaped by environment and social pressures. He revealed that his own background in Belgrade influenced his portrayal, and that working on the film helped him understand his character’s motivations more deeply.

Maksimović emphasizes that the shift from scenes of urban conflict to open natural landscapes creates a space for reflection and the possibility of escape, both physical and political. This transition is reinforced by the film’s visual language, which moves toward more expansive compositions and a slower pace, evoking a growing sense of hope and possibility.

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What Belongs to Others by director Grzegorz Dębowski, presented in Orizzonti at the Venice Film Festival 2026, explores a few days in the life of Kasia, a woman involved in break-ins, and delves into themes of loneliness, human connection, and deception.

Director Grzegorz Dębowski explains that the film begins with a tense, crime-driven atmosphere but gradually shifts focus toward more personal and spiritual themes. Inspired by Korean filmmakers known for genre mixing, Dębowski keeps viewers engaged while gradually revealing deeper aspects of human relationships. The narrative centers on Kasia’s complex emotional world, which unfolds through her interactions during these few days. Producer Agnieszka Skalska adds that her initial connection to the script stemmed from its compelling storytelling and the empathy she felt for Kasia. She emphasizes that the film’s rhythm aligns with Kasia’s character development, making her growth feel authentic and compelling.

Dębowski reflects on the intriguing idea that Kasia’s lies about her identity serve as a pathway to emotional honesty. He notes that modern society often involves people pretending or hiding aspects of themselves to be accepted, which inspired the film’s exploration of deception. Kasia’s ability to forge connections through her falsehoods reveals a paradox: sometimes, fiction or lies can uncover deeper truths about human needs for love and belonging.

Skalska highlights that her support for the project was rooted in the script’s strong social commentary, particularly about urban loneliness and the hidden lives within homes. The film was written with a specific actress in mind, Monika Sabina Kwiatkowska, whose presence adds a layer of inspiration to the project. What Belongs to Others challenges audiences’ perceptions of morality and connection, making it a timely reflection on contemporary society.

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During the Venice Film Festival 2026 we spoke with director Anuparna Roy and actress Neelima Sharma for the film Lovers in the Blue Night, which was presented in the Orizzonti section of the Festival. The directors returns to Venice after winning the Best Director Prize in the Orizzonti section last year, with the film Song of the Forgotten Trees. Continuing the exploration of the themes of migration, identity, and desire in her new feature as well, this time through the stories of four characters navigating life in a rapidly changing India.

During our interview on FRED Film Radio, director Anuparna Roy explains that her new film Lovers in the Blue Night marks a thematic evolution from her previous work, focusing on the internal and external journeys of her characters. While her earlier film was indeed set within the confines of a cramped Mumbai apartment, this new work takes viewers into the bustling city streets, following multiple characters in transit and emphasizing that migration is a political act, driven by the desire for dignity and personal freedom

Director Anuparna Roy also agrees that her latest film shares a thematic link with her previous project, Songs of Forgotten Trees, by examining the city and migration, describing the characters here as seeking to live authentically, fighting against societal constraints to find their own space and identity. For her, portraying these personal battles was more important than depicting the city as a mere backdrop.

Neelima Sharma added reflecting on her character, who in Lovers in the Blue Night embodies the universal human craving for love and acceptance. She shares that her own experience of living in Mumbai for three years resonated deeply with her role, as she, like her character, is still searching for her place. Anuparna Roy added that the film explores the daring to desire, especially for working-class characters who are often denied the same rights to love and self-expression as others, highlighting that her own background influenced her storytelling as well, aiming to portray the characters’ inner struggles with empathy and authenticity.

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In the context of the 1st Venice Production Bridge Location Market, the Head of International Relations at PFFP, Annie Galstyan, discusses the efforts of the Pan-Armenian Federation of Film Producers to increase Armenia’s presence in the global film industry. She highlights the federation’s role in connecting Armenian cinema with international markets and co-production opportunities. This interview offers insight into Armenia’s ambitions to break its cinematic isolation and develop a more active role on the international stage.

Galstyan explains that the PFFP was created to serve as a link between Armenia’s film industry and the global community. She emphasizes that Armenia’s diaspora, which is larger than the population within the country, plays a crucial role in fostering international collaborations. The federation aims to promote Armenian cinema abroad and attract international crews to shoot in Armenia, helping to showcase the country’s diverse landscapes and cost-effective production environment.

Galstyan notes that Armenia has yet to see its films regularly featured at major international festivals since gaining independence in 1991. She believes that with strategic efforts and better presentation, Armenian cinema can gain recognition. She also points out that Armenia’s local cinemas remain vibrant, with audiences eager to watch both domestic and international films, including Hollywood blockbusters and European independent movies.

Galstyan details how Armenia’s film infrastructure is well developed, with suitable locations, permits, and a skilled crew base. She mentions that the PFFP’s new structure, Cinema Alliance, simplifies the process for international filmmakers to access everything needed for production, from visas to equipment. Although the country’s film commission is still developing, she stresses that Armenia offers significant cost advantages, making it an attractive destination for international shoots, even without cash rebate incentives. She also shares that ongoing meetings at the Venice Production Bridge Location Market have already generated interest from producers looking to shoot in Armenia, with plans to develop further collaborations after the festival.

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During the Venice Film Festival 2026 we spoke with director Michelle Zhou, talking about her new movie Big Little Things, presented here in the Orizzonti section of the festival. Diving into her personal inspiration, cultural background, and the thematic depth of the film, and exploring silence, protection, and the complexities of family and identity.

During our interview on FRED Film Radio, Big Little Things director Michelle Zhou explains that the film’s central theme is silence seen as a form of violence. She describes indeed how, in her community, maintaining silence was a way to preserve harmony during conflicts or personal disputes, confirming a cultural tendency that influenced her portrayal of characters who choose silence to shield loved ones from painful truths, especially in the context of a same-sex relationship still sensitive in China.

A significant aspect of Big Little Things is indeed its autobiographical dimension, which Michelle Zhou incorporated by casting her girlfriend’s father, who experienced the real-life conflict that inspired the story. She recounts a poignant moment during filming when him improvised a heartfelt line in a key scene, revealing his genuine emotions and the generational gap between him and the younger characters.

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During the Venice Film Festival 2026 we spoke with director Yonfan, a filmmaker renowned for his aesthetic approach to cinema, discussing his latest project Intermission, which was presented in the Venice Spotlight – Out of Competition section of the Festival. The film, which is a reflection on the passage of time and on the love for cinema, marks a significant moment in his career as he explores the concept of an artistic pause.

During our interview on FRED Film Radio, Yonfan explains that the idea of beauty in his films has shifted over the years, adapting to changing trends and personal sensibilities. In Intermission, he deliberately incorporates old footage from over four decades ago, blending it with contemporary visuals to breathe new life into the past. His goal is indeed to make these images feel modern and vibrant, emphasizing that beauty is a dynamic concept that evolves with time and context. Yonfan also reflects on his career as an independent filmmaker, emphasizing that maintaining creative freedom often requires a simple lifestyle. While some of his productions have been large-scale, others are more modest, yet all benefit from his ability to work without external pressure: he considers his independence a gift, allowing him to pursue projects driven solely by his artistic vision, even if it means facing challenges along the way.

For Yonfan, Intermission is ultimately  is a heartfelt love letter to the medium, celebrating its power to inspire and transform. His passion for cinema shines through, as he emphasizes that this intermission is not an end, but a meaningful pause filled with gratitude and reflection.

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