FRED Film Radio - English Channel

With an interesting chat with Alberto Battocchi, we find out  the potential of regional filmmaking and audiovisual projects through the Trentino Film Commission‘s support and initiatives.  With a focus on sustainability and long-term growth, the Trentino Film Commission is a key partner for filmmakers and industry professionals alike.

The primary mission of the Trentino Film Commission is to attract and support audiovisual productions in the region. By providing assistance with location scouting, securing permits, and connecting filmmakers with local professionals, the commission ensures a smooth production process. Additionally, it works to develop the local industry by encouraging talent growth, skills enhancement, and fostering opportunities for regional professionals to gain recognition at national and international levels.

The Trentino Film Commission also emphasizes the importance of content understanding, offering insights into the social and cultural context of the area. This approach helps filmmakers create authentic stories that highlight the region’s traditions and everyday life, ultimately enriching the cultural narrative projected through their films.

Funding remains a cornerstone of the Trentino Film Commission’s strategy to create a vibrant and sustainable film environment. Since 2011, the commission has maintained a steady film fund, offering reliable financial support to filmmakers. This stability builds trust and encourages repeated collaborations, fostering a long-term relationship between producers and the region.

Looking ahead, the Trentino Film Commission is planning new initiatives to further support the audiovisual industry. Notably, the upcoming edition of Visa Vis, a networking event dedicated to documentary producers and broadcasters, will facilitate connections, project presentations, and industry discussions. These activities aim to strengthen the local market and promote Trentino as an attractive filming location for diverse projects.

By continually expanding its activities and maintaining a supportive environment, the Trentino Film Commission cements its position as a pivotal player in the regional film industry. Its efforts not only attract productions but also nurture local talent, making it an essential partner for anyone looking to shoot in the area.

This interview was recorded in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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The 23rd edition of Alice nella Città gave a very warm welcome to Noah Beck, a social-media phenomenon now established as one of Gen Z’s most influential personalities, on October 25 together with director Justin Wu and actress Siena Agudong to present The Bad Boy and Me, the irresistible romantic comedy coming soon to Italy’s streaming platforms thanks to Maestro Distribution.

Based on the most-read novel of all time on Wattpad (Sidelined: The QB and Me), The Bad Boy and Me is director Justin Wu’s first feature film. The movie has already enjoyed huge success in the United States and several European countries, taking the streaming platforms on,  and is now ready to conquer Italy.

The Bad Boy and Me marks Noah Beck’s acting debut as quarterback Drayton Lahey, a rebellious party boy who turns the life of cheerleader Dallas Bryan (Siena Agudong), ambitious and rule-abiding, upside down. Despite their opposite personalities, a bond forms that seems to transcend their differences, but it’s hard for Dallas to let go: she’s focused on earning a dance scholarship, even as her feelings start to make her reconsider her priorities. In this emotion-filled rom-com, the two leads learn the importance of pursuing what the heart wants.

The Bad Boy and Me offers a heartfelt portrayal of adolescence, capturing the universal journey of finding oneself. Set amidst the nostalgic backdrop of high school years, the movie emphasizes the importance of self-exploration and personal growth.

Noah Beck along with director Justin Wu and Siena Agudong share insights into how the film reflects on the challenges and joys of adolescence.  The story serves as a “love letter to youth,” emphasizing hope and resilience.

Beck and Agudong both admit that the story also resonated on a personal level, describing how reliving their teenage experiences brought back a sense of innocence and nostalgia.  Beck “declares: “It was a fun journey back in time,” noting that the film allows viewers to appreciate youthful moments and first loves. The film strikes a balance, encouraging audiences to cherish the past while embracing the future.

Fans of coming-of-age stories will find The Bad Boy and Me a sincere reflection of teenage joys and struggles. Its exploration of love, friendship, and self-acceptance makes it a compelling watch for both young viewers and adults reminiscing about their own youth. The film’s message reminds us that even during uncertain times, hope and love can guide us toward our true selves.

Alongside the festival premiere at Alice nella Città, audiences  also got an exclusive sneak peek at the second installment of the saga with Noah Beck and Justin Wu.

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In competition at the 23rd Alice nell Città, Ronan Day-Lewis presented his directorial debut, Anemone, co-written and starred by his father, actor Daniel Day-Lewis.

The film, coming out in Italian cinemas from November 6th with Universal Pictures Italy, marks Daniel Day-Lewis’s return to the big screen, 8 years after the release of Paul Thomas Anderson’s Phantom Thread.

Anemone is a compelling film that delves into the tumultuous journey of a man confronting his past and seeking redemption. The film showcases a narrative of two painful yet rewarding journeys: reconnecting with a brother and embracing fatherhood.

With a screenplay written by father and son, Anemone features Daniel Day-Lewis and Sean Bean as two brothers who, estranged for a long time, meet again in the wilderness where one of them has chosen to live in isolation after a family crisis. Day-Lewis plays Ray, a man who abandoned his wife and young son because of wounds too difficult to manage and buried secrets. The encounter with his brother, once a fundamental bond, brings all the resentments to the surface, along with a confession and perhaps a second chance.

Inspired by his work as a painter, Ronan Day-Lewis crafts a film that is visually meticulous down to the smallest detail, like a succession of tableaux. His camera slowly follows the path of his protagonist, Ray, as he brings unresolved matters to light; and if at first it must chase him, showing him only from behind or in profile, little by little it manages to catch sight of his face, up to a final confrontation.

Ronan Day-Lewis explains that his protagonist, Ray, is experiencing a form of spiritual crisis, having disconnected from his identity and loved ones. The film opens with Ray isolated, while the camera visually reflects his emotional state. Initially shot from behind or at angles that hide his face, the cinematography symbolizes his reluctance to face himself and others. As the story unfolds, the camera gradually approaches, mirroring his internal opening up. The pivotal scene with his former wife, Jem (Samantha Morton) marks a turning point, where the camera finally reveals Ray’s face fully, symbolizing acceptance and emotional vulnerability.

The visual style of Anemone combines mythic elements with everyday realism. The director worked closely with the cinematographer to craft a balanced language inspired by 16th-century illuminated manuscripts and 1990s Sheffield street scenes. This synthesis of the fantastical and the mundane creates a unique aesthetic that underscores the film’s themes, highlighting the tension between myth and reality. The use of music, particularly shoegaze, further enriches the film’s atmospheric tone.

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Bluey, the animated series created and written by Joe Brumm, made its big-screen debut thanks to Alice nella città, at the Auditorium Parco della Musica, ahead of its arrival on October 30 at The Space Cinema locations and other cinema chains throughout Italy, distributed by BBC Studios Kids & Family.

For those who don’t yet know who Bluey is, a quick refresher: she’s a Blue Heeler puppy who lives in Australia with her little sister Bingo and their parents, hockey enthusiast Chilli and dad Bandit, an archaeologist who loves digging for bones.

Bluey continues to captivate audiences worldwide with its authentic portrayal of family life. The series has gained recognition not only among children but also among parents, highlighting its universal appeal. Acquired by BBC Studios, Bluey’s popularity stems from its relatable themes, humor, and high-quality animation.

What sets Bluey apart from other animated series out there? One episode is enough to see it. Bluey and her family are normal: they’re fallible, they suffer, they get bored, they take their knocks, they have fun, they’re afraid of the dark, they argue, and they have to pee at the most unexpected moments. The difference from conventional, often one-note families, is glaring, because Blue, through anthropomorphic dogs, tries to portray the reality of everyday life. It isn’t only children who feel represented, but parents, adults, too. An episode of the series makes you feel less alone, offers food for thought, and even a few suggestions on how to handle the day and family conflicts with two kids.

The show’s success lies in its portrayal of real family situations that everyone can connect with. “It’s about real family life,” explains Gaby Dior, head of EMEA licensing at BBC Studios. The series features lighthearted humor and genuine interactions, making it appealing across age groups. Its crossover appeal is evidenced by awards for content quality and licensing achievements, including recognition at the Bologna Eco Project and with Italian publishing partners.

“Bluey at the cinema: ‘Let’s Play Chef’ Collection” is not a film but a special collection—or rather, a compilation: an hour of fun for fans, offered by BBC Studios and Ludo Studio, made up of eight existing episodes focused on food-related fun and drawn from the show’s three TV seasons.

Featuring episodes about meal times and culinary adventures, the compilation emphasizes family bonding through food. This initiative, supported by premiere partnerships across Europe, aims to create a memorable experience for families while encouraging children’s focus and engagement in long-form content.

Fans can look forward to a Bluey movie set for release in 2027, promising more adventures on the big screen. As the series expands, the show’s universal themes and relatable stories continue to strengthen its position as a flagship family entertainment brand.

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During the 20th edition of the Rome Film Fest we spoke with Mary Bronstein and Rose Byrne, director and main actress of  the film “If I Had Legs I’d Kick You”. This compelling film masterfully blends dark humor with raw emotional depth, capturing life’s contradictions, the challenges of motherhood and the layered and complex human experiences.

The film indeed reflects life’s unpredictable nature, using humor as a survival mechanism amid stress and adversity, preventing the story from becoming overwhelming and cleverly employing also visual and behavioral humor in order to find comedy in absurdity and tensions.

Main actress Rose Byrne talked about her intense performance, highlighting the cinematic choice of close-up shots that keep the camera almost inches from her face. This intimacy emphasizes vulnerability, yet moments of breathing space provide needed relief. Byrne reveals that balancing absurdity and realism required exploring the limits of performance, making humor feel authentic even in tense moments.

The director Mary Bronstein highlighted how the film’s setting mirrors the protagonist’s mental landscape — a turbulent world where the environment seems to follow and destabilize her. The director describes this as a visual metaphor for modern parenthood and societal pressures, emphasizing how contrasting childhood freedoms of the past with today’s overprotection highlight the challenges that nowadays parents face, from digital supervision to societal judgment.

She also explained more about the choice of this particular title “If I Had Legs I’d Kick You“, that is a wordplay on the and American expression and symbolizes the feelings of the protagonist’s will and also a desire for empowerment .

“If I Had Legs I’d Kick You” is a provocative exploration of resilience, humor, and the chaos of contemporary life, resonating across diverse audiences.

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The film “Eighty Plus” offers a poignant look at Serbia’s complex post-war identity through the story of a jazz pianist returning home after six decades in Germany. Directed by Želimir Žilnik, the documentary intertwines personal stories with broader reflections on exile, social change, and national memory.

“Eighty Plus” delves into the pianist’s journey to reclaim his childhood home amid Serbia’s ongoing social and political transformations. Žilnik was inspired by recent debates around the restitution of property and a broader sense of national nostalgia. He observed that many wealthy landowners from Austria-Hungarian times had left the country during or after World War II, with their descendants now often embroiled in political and criminal affairs. The film highlights how history continues to shape current realities, revealing the deep divide between political rhetoric and the often harsh truth of social change.

Throughout the film, music acts as a unifying element, symbolizing both cultural memory and personal resilience. Žilnik weaves the jazz performances into the narrative, emphasizing their role in connecting generations and fostering a sense of continuity amid upheaval. This balance of comedy, drama, and irony reflects Serbia’s ongoing struggle with its fractured identity and hopes for reconciliation.

Ultimately, “Eighty Plus” captures the uncertain atmosphere in the region, marked by protests and political unrest. Žilnik‘s work reflects a Europe still grappling with its past, navigating divisions, and seeking new paths to unity and understanding.

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At the 20th edition of the Rome Film Fest, the director Chloé Zhao presented her latest work, “Hamnet”, in a heartfelt conversation about art, grief, and the metamorphosis of the human spirit. Adapted from Maggie O’Farrell’s acclaimed novel, “Hamnet” revisits the emotional landscape behind Shakespeare’s Hamlet, exploring the timeless cycle of love and death, and how creation can rise from loss.

When asked about the recurring themes in her work, Zhao reflected on her cinematic journey: “The first three films I made were very much about loss and people losing their sense of identity. But then the last two, Eternals and Hamnet, deal with grief differently. Ultimately, Hamnet is about metamorphosis.”

For Zhao, “Hamnet” represents a new creative stage — one where separation dissolves into unity. “It’s about the capacity to alchemize human experiences from one extreme to another, and to get to a place of oneness. All living things must die, passing through nature to eternity — and in this case, through art.”

This philosophical approach defines Zhao’s vision: art as a bridge between the material and the spiritual, between suffering and transcendence.

Throughout “Hamnet”, imagery of darkness and renewal resonates deeply — from the black void of grief to the rebirth through art. “Everything… there is life after death. It’s a cycle. The void is waiting for you, but from there life comes again. It’s like compost,” Zhao says with quiet conviction.

Her reflections draw a direct link between human pain and natural regeneration — death as the fertile ground of transformation. This recurring idea permeates “Hamnet”, from its shadowed forests to the Globe Theatre.

During the interview, Zhao spoke about how art can save and transform: “I’ve lived through the alchemical power of creativity. It heals my psyche, it pulls me out of deep grief and loss, gives meaning to my pain, and it grew me spiritually.”

She challenges the romantic notion that artists must suffer to create: “I really do not agree that artists have to be in pain to create. That’s a myth. The inside has to come first. The work is the inner work.”

For Zhao, filmmaking is not an act of control, but of surrender — a dialogue between the unconscious and the divine.

The director recalls filming the film’s most devastating sequence — Agnes’s scream after losing her child, performed by a stunning Jessie Buckley: “That scream… it’s collective grief coming out of her. Our ancestors knew how to express emotions through the body — they wailed, they danced, they screamed. We’ve forgotten that.”

Zhao’s method channels this ancient energy into cinema: “If I don’t experience catharsis myself while making the film, then there is no catharsis for the audience. I have to live it too.”

Her filmmaking becomes an act of emotional truth, mirroring the cycles of nature and myth.

When discussing the mystical aura surrounding “Hamnet”, Zhao connects feminine intuition with ancient forms of storytelling: “Witchcraft really is just having great sensitivities and trying to listen instead of speak. It’s about listening to what your environment is trying to say through you.”

This, she adds, is the balance she seeks in all her films — between chaos and order, spirit and matter, freedom and containment.

In Zhao’s own words, “Hamnet” is a story of metamorphosis: “Love doesn’t die; it transforms. It is the greatest metamorphosis in this universe.”

As she prepares to bring “Hamnet” to audiences worldwide, Zhao continues to redefine what cinema can be — a space where grief becomes grace, and storytelling becomes alchemy.

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“Towards the Light” is a deeply personal documentary that delves into themes of exile, loss, and hope. Directed by Vadim Kostrov, the film reflects his own experience of settling into a new land after fleeing Russia during the Ukraine conflict. Shot largely in Paris, the film captures intimate moments of disorientation and the search for belonging.

Kostrov uses light as a potent symbol throughout “Towards the Light”. Filming during sunny days, he associates sunlight with moments of clarity, hope, and remembrance. The interplay of illuminated scenes and darker sequences reflects the emotional spectrum of exile, from feelings of loss to glimpses of resilience. This deliberate use of lighting adds depth and universality to the narrative.

The film intertwines personal memories with historical references, paying homage to artists and philosophers exiled from Russia in the early 20th century, like Natalia Goncharova. Cemeteries and graves featured prominently, serving as tangible links to the past and collective history. Kostrov aims to evoke empathy and understanding, encouraging audiences globally to recognize the ongoing struggles of displaced peoples.

“Towards the Light” ultimately conveys a message of persistence amid hardship. Despite feelings of disconnection, the film underscores the resilience to find beauty and hope in new realities.

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At the 23rd edition of Alice nella Città, director Max Walker-Silverman presented his deeply personal new film, “Rebuilding”, a poetic and humanist tale of loss, memory, and regeneration.
Inspired by his own family’s experience, the filmmaker recalls, “The film is based on seeing my grandmother’s house burn in a wildfire, which was at first one of the great tragedies that has happened in the family, but in the weeks and months afterwards, it became a more complicated and interesting thing.”

For Walker-Silverman, the film’s genesis was not the fire itself, but what followed. “It became about going back to this land that had been black and dead and seeing it covered in wildflowers,” he says. “There will always be a melancholy to it, but there’s a beauty there still, and a sense of life and community, and somehow a path forward.”
From this experience came a story that transforms devastation into rebirth.

Although “Rebuilding” deals with the aftermath of a natural disaster, its emotional core lies elsewhere. When asked whether the film is a story of survival, Max Walker-Silverman reflects: “It is a story about survival, but I hope it’s more than that, because it’s not just about the physical basics of survival, it’s about the emotional side too, and the community side.”

He continues: “After fires, or floods, or earthquakes, or even wars, the way that people care for each other is really just the most amazing thing. It usually doesn’t last as long as it should, but there’s a hope in it nonetheless.”
The film thus captures the fleeting yet transformative power of human connection — the solidarity that emerges when everything else has been reduced to ashes.

At the heart of “Rebuilding” is Dusty, played by Josh O’Connor, a stoic rancher struggling to start anew. Through this quiet character, Walker-Silverman explores a more vulnerable form of masculinity. “This is a man who really believes that he’s self-reliant and that that’s his strength, without realizing how much harder that is making his life and the life of his family,” he explains.

In Dusty’s journey, strength becomes synonymous with openness. “At the end, it’s a story about this guy accepting not only that other people need him, but that he needs other people. And that’s not weakness; that is strength, and that takes courage.”
In a subtle critique of the myth of the self-reliant cowboy, the director exposes the emotional cost of isolation, particularly in rural America. “That story is real and needed everywhere, but especially where I’m from,” he adds.

Throughout the interview, Max Walker-Silverman returns to the themes of memory and home — notions made fragile by loss but strengthened by remembrance. “Somewhere between our memories of a place and our hopes for it is home,” he reflects. “I’ve seen the places change too much to believe it’s entirely a physical thing. But what we remember, what we hope for — if those revolve around a single idea or place — I think that’s probably home.”

This reflection connects to one of the film’s most touching moments, when a grandmother speaks of keeping her brother’s memory alive. For Walker-Silverman, this memory becomes more powerful than loss itself: “The things we’ve lost can still be very real and can still be very much with us, and it can be worth having had them even if they’re lost.”

Asked what he hopes audiences will take away from “Rebuilding”, the director’s answer is simple yet profound: “The greatest experiences of art to me are when I close the book or take off the headphones and look out the window and just enjoy what I see a little bit more. I hope there’s some experience of beauty in the film that makes someone’s life just a little more colorful.”

With its quiet strength and luminous empathy, “Rebuilding” reminds us that beauty can survive catastrophe — and that sometimes, rebuilding means learning to see the world anew.

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“Cactus Flower”, directed by Hala Elkoussy, offers a poignant look at familial and cross-generational relationships amidst Cairo’s vibrant urban landscape. The film follows Aida, a young woman in her late 20s, and her friendship with Samiha, an elderly woman over 70, who both face displacement in a city constantly evolving.

Elkoussy explains that her inspiration stemmed from her experiences during the Arab Spring, which she describes as a period when societal boundaries blurred and different generations interacted more openly. The film investigates how such dialogue can foster understanding across age gaps, challenging traditional family structures often marked by rigidity. “There’s a powerful possibility for change if communication remains open between the young and the old,” she emphasizes.

The film’s tone masterfully shifts between realism, absurdity, and dreamlike sequences, reflecting Cairo’s labyrinthine personality. Coming from a background in visual arts, Elkoussy prioritizes experimentation and emotional truth over conventional storytelling. She captures Cairo’s architecture, street life, and the city’s psychological imprint on its inhabitants, portraying it as an almost living being with whom individuals have a complex, intimate relationship.

Elkoussy also discusses her new film presented at Doclisboa, “East of Noon”, which shifts focus to universal themes of youth and hope. Both films emphasize timeless human values like dignity, care for elders, and the importance of preserving hope in rapidly changing times.

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