FRED Film Radio - English Channel

Ben Rivers’ new film, “Mare’s Nest”, is a captivating exploration of childhood, freedom, and the search for meaning in a post-societal world. Premiering at the 69th BFI London Film Festival 2025, the film follows a young protagonist, Moon, as she navigates a world without adults, encounters other children, and grapples with questions of existence and the future. Known for his visually striking and thought-provoking work, Rivers offers a unique vision of hope amid a world facing climate change and societal collapse.

Rivers sees a strong connection between “Mare’s Nest” and his earlier film, “Bogancloch“, despite their superficial differences. Both films, made simultaneously, explore themes of anarchy against social normality. While “Bogancloch“ depicts an older man’s solitary existence outside infrastructure, “Mare’s Nest” envisions children reinventing a world free from adult constraints. Rivers emphasizes that both films explore non-violent anarchy — a conscious choice to question the status quo without conflict. He highlights his interest in individuals who choose alternative ways of living as a form of hope against increasing conservatism, greed, and violence. These characters actively resist the relentless march of capitalism.

When discussing “Mare’s Nest”, Ben Rivers is eager to distance his work from any comparisons to “Lord of the Flies“, which is an easy association to make. Instead, he consciously aimed to create a more optimistic narrative — imagining a future where children, free from adult influence, can reinvent and rethink the world around them. The character of Moon, exploring this world with curiosity and wonder, embodies this hope.

A key element of “Mare’s Nest” is the inclusion of an obscure play by Dallo, “The Word for Snow“. Performed by three nine-year-old girls within the film, it raises concerns about the changing planet, disappearing species, and the erosion of language. Rivers views the play as the beginning of Moon’s journey. He stresses the importance of storytelling as a means of protection when history spirals into chaos. This idea connects to his earlier short film, “Minotaur“, which is incorporated into “Mare’s Nest“. The Minotaur, a primal figure, symbolizes forgotten feelings society often suppresses. Rivers believes embracing these primal aspects is essential for finding our place in the world.

Rivers shares insights into his casting choices, especially regarding Moon. The daughter of friends, Moon naturally brought ease and intelligence to her role. Her ability to engage with the film’s ideas made her an invaluable collaborator. Rivers also favors working with non-professional actors who bring a sense of “realness” to performances — willing to simply “be” in the moment without overthinking motivations. He describes a collaborative process involving play and improvisation, where he guides the children in creating choreography that he captures with his camera.

The post “Mare’s Nest”, interview with director Ben Rivers appeared first on Fred Film Radio.

At the 20th edition of the Rome Film Fest, FRED Film Radio met director Julien Temple and photographer and collector Johnny Pigozzi to talk about their latest collaboration, “I’m Curious Johnny”, a vibrant and unconventional documentary presented as a special screening at the festival.

The film dives into the extraordinary life of Johnny Pigozzi, a man who has been called many things — photographer, art collector, entrepreneur, philanthropist — but who, as the film suggests, might best be described as a collector of people and moments. With appearances by Mick Jagger, Michael Douglas, Diane von Furstenberg, and Graydon Carter, the documentary captures a lifetime of encounters with icons, while also offering an intimate glimpse into Pigozzi’s self-made mythology.

When asked how the project began, Johnny Pigozzi explained: “It started during COVID. I decided to do some interviews with friends of mine. And I spoke to about 50 people. I said, you can ask me whatever question you want. Obviously, I could edit them… So I had all these interviews, but I didn’t really know what to do with them.”

After showing the material to producer Jeremy Thomas, the idea evolved into something larger.

“We made it a much bigger, more fun, and more diverse and very visual, and very different kind of film than a regular interview film,” Pigozzi said. “The film we made… is not boring.”

Director Julien Temple, known for his groundbreaking work in music and documentary cinema, embraced the challenge of turning digital limitations into creative strength. “The interviews were on Zoom, which is different from a formal interview,” Temple noted. “It’s interesting because you see a version of the real person that’s different from the formal setup… despite the quality being shit, basically.”

Temple emphasized the aesthetic richness that comes from working across formats — VHS, DigiBeta, Mini-DV, and 70mm: “There’s incredible information in the way something is recorded. That’s also at the heart of this film. It was fun using Zoom as a subject as well as a means of viewing.”

The film draws heavily from Johnny Pigozzi’s personal archives, amassed over more than 50 years of photography. “I want my archives to be as public as possible,” he explained. “I think they’ll be even more interesting in a hundred years’ time… I’m not a paparazzi who’s behind the tree with a long zoom lens. I’m usually 20 or 30 centimeters away, so the pictures are much more intimate.”

Temple compared Pigozzi’s visual legacy to that of the early French photographer La Tigue: “A hundred years later, La Tigue’s photographs are the most interesting record of that time and that society. In a similar way, Johnny’s images capture moments where people are at home with being photographed.”

When asked if Johnny Pigozzi could be considered a rockstar himself, Julien Temple replied playfully, “Maybe he’ll become one. He’s a great percussionist, by the way.”

To which Pigozzi laughed: “One day I was at a party with Mick Jagger, and he introduced me saying, ‘This is Johnny Pigozzi, who’s been to more Rolling Stones concerts than myself.’ But I’ve fallen asleep at Led Zeppelin concerts, ACDC concerts… I’d rather take pictures and go home than jump around.”

The post “I’m Curious Johnny”, interview with the director Julien Temple and Johnny Pigozzi appeared first on Fred Film Radio.

During the 23rd edition of Alice nella Città, in Rome, we spoke with Ben Leonberg, director of the opening film “Good Boy”, and with the producer of the film Kari Fischer. The two are also the owners of the absolute star of the film, the four legged-waving tail-furry star Indy. The peculiarity of the film is indeed the point of view, that blends together horror and a heartfelt storytelling in a story that is entirely told from the perspective of the dog himself, explores in an unique way the themes of loss, fear, and unconditional love.

“Good Boy” stands out as a horror movie that manages to maximize both the emotional impact and the narrative depth, also using innovative cinematography techniques and a curated sound design to authentically capture Indy’s experience, and creating at the same time a great intimacy and connection with the audience. The filmmaker used ground-level camera shots following Indie, combined with clever post-production techniques, such as shooting scenes twice to seamlessly integrate Indie’s performance into the story.

At its core, “Good Boy” revolves around the profound themes of loss and companionship. Ben Leonberg told us how the story’s focus is portraying a character that finds himself in a very dark place, seeking solace only in his dog during this time of isolation. The filmmaker emphasize how animals offer emotional support and unconditional love, often helping people confront their fears about mortality.

Producer Kari Fischer told us a bit more how they both managed to use Indy’s improvisation and random movements to blend them in the films narrative, achieving a surprising result through both creative camera work and also an improvised training that encouraged Indy to move naturally across scenes. The result is a touching and authentic portrayal of a dog’s perspective, capturing the film’s deep emotional and thematic layers.

“Good Boy” then manages to create a compelling mix of horror, emotion, and technical artistry, inviting viewers to see the world (and its darkest mysteries) differently through a dog’s loving eyes.

The post “Good Boy”, interview with director Ben Leonberg and producer Kari Fischer appeared first on Fred Film Radio.

At the 20th edition of the Rome Film Fest, filmmaker Ari Aster presented his latest film, Eddington — a story set in small-town New Mexico, where a fragile community spirals into conflict and paranoia. The film, starring Joaquin Phoenix and Pedro Pascal, reimagines the American Western through the lens of modern technology and social division.

Speaking with FRED Film Radio, Ari Aster discussed the film’s origins and the atmosphere that inspired it.

“The film is set at the end of May, the beginning of June 2020, and that’s when I started writing it,” he explained. “I would say the initial inspiration was just kind of what was in the air; it felt like things were more fraught than I had ever experienced in the country.”

The director continued:

“Since writing it, things have only become more fraught and more uncertain and more worrying. And so I guess the film kind of just came out of my alarm over where we were, where we seemed to be headed, and just trying to get my hands around it and trying to wrestle with a lot of what I was feeling.”

While Eddington explores contemporary issues, Ari Aster grounded it in one of the oldest American genres: the Western. But, as he points out, it’s a Western reimagined for our age.

“Part of the project became, okay, how do I pull back as far as I can and include as much of the culture as possible while still telling a…” he said, reflecting on his creative process. “And in the end, the film is, it’s a satire, it’s many things, but it’s a Western. And it’s a movie about small-town rivalries that intensify and lead to violence.”

In “Eddington”, those rivalries are no longer fought with guns — but with digital weapons. The feud between the sheriff and the mayor becomes a metaphor for how technology and online tensions bleed into real life, blurring the lines between communication and confrontation.

One of the most striking elements of “Eddington” is its depiction of smartphones as instruments of both connection and destruction. Aster acknowledged that this was central to the film’s design.

“I think that there’s a tendency, especially in contemporary films, to sort of retreat from the moment, from the present, because there’s something kind of unpleasant about the moment, and there’s something not very interesting about people on their phones.”

He challenges that assumption directly:
“But I do find that there’s something very insidious about how much we live on our phones and how glued we are to our phones and how dependent we are on them. And I wanted to make a film that didn’t exaggerate, it doesn’t exaggerate, you know, how much we want our phones, but it also, it strives to acknowledge how often we are on our phones.”

Aster underlines that the story isn’t about excess or exaggeration, but about reflecting reality as it is.
“It’s a movie that I think maybe underscores phone usage more than most would. But at the same time, I don’t think anybody’s on their phone in this film more than you or I might be.”

“Eddington” emerges as both a satire and a social mirror, capturing the anxieties of 2020 and the constant hum of digital life. Through his distinctive tone and perspective, Ari Aster transforms a local story of rivalry into a universal parable of disconnection and dependence.

The film, set in a small town but resonating far beyond, marks a shift in Aster’s career — from the psychological horror of “Hereditary“ and “Midsommar“ to a new kind of horror: one rooted in everyday behavior, in what we see and share.

His words remind us of the urgency that inspired the film:
“It felt like things were more fraught than I had ever experienced in the country… I guess the film came out of my alarm over where we were.”

The post “Eddington”, interview with director Ari Aster appeared first on Fred Film Radio.

At the 23rd edition of Alice nella città, FRED Film Radio interview actresses Lucie Fingerhutová and Nikola Kylarová and producer Ondřej Lukeš to talk about “The Other Side of Summer”, a movie presented in competition.

After his directorial debut with “After Party”, director Vojtěch Strakatý returns to talk about adolescence in “The Other Side of Summer”. But this time the perspective is completely different. How did he and producer Ondřej Lukeš work to tell this coral story?

“In our minds, from the very beginning, the importance was to tell a story about friendship, sisterhood and finding a good place or a better place, but also to represent this age profile, mainly female age profile, which we felt isn’t represented enough, at least in our country”, says Ondřej Lukeš.

“And also to do it in a way that it is true for the characters, because pretty often we encounter films which have young protagonists, but they don’t speak the language of young people at all and they don’t deal with the same issues young people deal with. It was very important for us to bring this to the screens and to be truthful towards the language and the issues of young people”.

Social pressure, the fear of missing out and the obsession of perfection. Did the actresses feel represented by the themes of “The Other Side of Summer”? “All the things you have mentioned are absolutely in the movie”, says Nikola Kylarová. “The most important is the fear of missing out, because there are two best friends who fear of missing out the best summer of their lives and that’s the main theme or motive in the film”.

The protagonists of “The Other Side of Summer” are a group of teenagers. How did the director guide his young actresses on set? “He didn’t ask us to be best friends or to be friendly, but it sort of just happened”, says Lucie Fingerhutová. “Because the whole casting process and the process before shooting was like a year and a half. So we had a time to build our friendship of cameras too”.

“Firstly, we kind of need to be friends because we were it was a first role for us and we were in this together”, says Nikola Kylarová. “So, we felt the same fears of making the film. That was the first touch and the first move that we became friends even before when we started shooting”.

The post “The Other Side of Summer”, interview with actresses Lucie Fingerhutová and Nikola Kylarová and producer Ondřej Lukeš appeared first on Fred Film Radio.

Charlie Ahearn, director of the iconic film “Wild Style”, sat down at the 69th BFI London Film Festival  to discuss its lasting impact and creation. “Wild Style” was not originally conceived as a documentary; Ahearn envisioned it as a “pop movie,” inspired by his love for Bruce Lee films. Reflecting on the early stages of filming, Ahearn shares his unwavering confidence in the cultural wave that “Wild Style” would ignite. “I was completely certain that this film would change everything because I could feel the culture was like a rising wave,” he recalls. He believed he was riding this wave alongside authentic and passionate individuals, and he embraced that spirit throughout his filmmaking process.

Ahearn recounts the challenges of producing “Wild Style” with a shoestring budget—just $50,000 from ZDF and Channel 4. He jokes about feeling “rich” compared to his previous $2,000 martial arts film. Despite the financial limits, his main concern wasn’t whether it was a documentary or a fictional film, but whether audiences would accept it as a film at all. He recalls the anxiety of early test screenings, constantly questioning if the film would connect with viewers. “Will people accept this as a movie? That’s what I kept asking myself.” The pivotal moment, he notes, is when Fred Braithwaite (Fab 5 Freddy) enters the scene, bringing a sense of “street sophistication” that bolstered the film’s appeal.

Ahearn reflects on a recent viewing of “Wild Style”, struck by the innocence of the main characters. He emphasizes that this isn’t actors pretending to be innocent; it’s a genuine trait rooted in real-life interactions among the cast. He highlights the “puppy love” dynamic between Pink and Lee, comparing it to a real-life Romeo and Juliet, complete with all the tensions that entails. The scene on the stoop with Rodney and KK particularly moves him, as he recognizes how young they were when voicing their fierce ambition with heartfelt innocence. He clarifies that this isn’t naiveté—foolishness—but a deeper, authentic authenticity rooted in the importance of their emerging star quality.

Ahearn stresses that featuring artists who would become legends wasn’t a calculated act of recognition at the time; it was part of a larger movement—an interconnected community. His aim was to portray the Bronx community and its relationship with downtown Manhattan. He highlights the link between these two worlds through his film, which grew out of his earlier work, Deadly Art Survival. That project involved bringing art into the streets and streets into the art world, blurring cultural boundaries. Ahearn also credits his twin brother, John Ahearn, who created portrait casts of neighborhood residents for the Bronx Hall of Fame exhibit, demonstrating a longstanding dedication to community engagement. He concludes, “At that moment, you could say the downtown and Bronx communities were interacting through this film.”

The post “Wild Style”, interview with director Charlie Ahearn appeared first on Fred Film Radio.

The 69th BFI London Film Festival hosted a captivating premiere: “Moss & Freud“, directed by James Lucas. The film explores the unexpected relationship between supermodel Kate Moss and legendary artist Lucian Freud. It examines the connection between two seemingly different figures, revealing surprising similarities and vulnerabilities.

Lucas was drawn to the story because of the contrast between “Moss & Freud“. “That’s what really attracted me… this story of incongruence, of two very different personalities from different worlds… coming together to find a shared connection, a crossover,” he explains. He focused on that specific moment when their lives intersected. Lucas describes it as an “odd couple story,” a concept that fueled his passion for the project.

The director translated themes of observation and self-discovery, core to the artistic process, into the film’s visual style. For Lucas, painting allowed both Moss and Freud to “explore each other, but also explore themselves.” Freud, in particular, experienced a rare moment of reflection. “He was known for not looking back—yet this relationship prompted him to reassess his past.” The film subtly explores Freud’s complex personality, revealing new facets.

Having Kate Moss as an executive producer was key to maintaining authenticity. Lucas valued her candid feedback, which helped shape an accurate portrayal. “It was an honest collaboration where she could simply say, ‘Yes, that’s accurate,’ or ‘No, that’s not right,’” he recalls. Moss’s openness about this part of her life added genuine depth to the film. Lucas emphasizes her bravery in sharing her story, giving viewers “a little peek behind the curtain.” Her input was essential for true storytelling—one that entertains, educates, and informs.

Lucas hopes audiences will connect with the human side of Kate Moss and Lucian Freud, beyond their fame. He recognizes the wide appeal of the film, attracting “art lovers,” “fashion enthusiasts,” and fans of “art house cinema.” Despite their iconic status, Lucas believes that “once we get a glimpse behind the curtain, you’ll see their humanity and relate to them.” The film strives to illuminate the relatable qualities of these extraordinary individuals.

Like the director, viewers may find their preconceptions challenged by “Moss & Freud“. As Lucas notes, “when you watch this, it’s almost unrecognizable—you think, ‘Wow, this is totally different…’” The film offers a revealing look into the lives of Moss and Freud, inviting audiences to rethink their understanding of these cultural icons.

The post “Moss & Freud”, interview with Director James Lucas appeared first on Fred Film Radio.

Director Jonathan Etzler shares the inspiration behind “Bad Apples,” at the 69th BFI London Film Festival, revealing that the film is adapted from the Rasmus book, centered on a powerful moral dilemma. With writer Jess O’Crane, Etzler transformed this idea into a surprising dark comedy with thriller elements. He highlights his fascination with outsiders who struggle to fit into society—a recurring theme in his work that deeply resonates with the story’s core.

Neha Asphäll discusses her collaboration with Jonathan to create the distinct aesthetic of “Bad Apples,” especially the oppressive yet subtly warm atmosphere of Maria’s basement. She notes that finding a suitable location was challenging, which led to the decision to construct one. This allowed greater control over shots, lighting, and mood. Fahl emphasizes the deliberate evolution of lighting and atmosphere in the basement throughout the film, aided by sound and production design. Jacquelyn Abrams, the production designer who previously worked on “The Lobster“, played an integral role.

Etzler explains why Saoirse Ronan was cast, highlighting her natural likability as key for playing Maria. He believed her ability to evoke sympathy—despite making questionable choices, like locking a boy in a basement—was essential. Ronan was excited to portray a less sympathetic character, and her early commitment was a vital boost for the project.

Regarding the film’s themes, Etzler discusses exploring societal complicity in others’ suffering. He critiques the school system’s tendency to treat all children equally, and how underfunding impacts those needing special attention. Etzler also addresses distrust towards non-conforming individuals, a sentiment prevalent in both the UK and Sweden. Through “Bad Apples“, he aims to challenge these societal norms.

The post “Bad Apples”, Interview with Director Jonathan Exler and Director of photography Neha Asphäll appeared first on Fred Film Radio.

Iain Forbes’ “After Dark” has been gaining attention for its chilling exploration of moral ambiguity and urban isolation. In this interview at the 69th BFI London Film Festival 2025, Forbes shares insights into the personal experiences that influenced the film, the challenges of authentically portraying fear, and the unique cultural perspectives he brought to the story.

The discussion begins with the real-life encounter that inspired the first half of “After Dark“. Forbes explains that the film reflects his emotional journey: “from curiosity to worry, to fear, to doubt, and then skepticism, and finally, regret.” He emphasizes how difficult it was to capture the feeling of fear without exaggeration. “I think the hardest emotion to depict on film was fear, especially when he encounters the young woman on the street,” Forbes notes. He credits actor Simon Booster’s performance in conveying unease, as well as the film’s visual language, for highlighting paranoia and fear.

Forbes is known for delving into moral ambiguity in his works. He discusses how his perceptions of right and wrong were challenged during the writing and filming of “After Dark“. In reality, the situation was less ambiguous— the woman wanted to return to someone she met at rehab. This raised the question: “Was she actually a person not as far gone as I initially thought?” Forbes aimed for the film to capture the ambivalence of not knowing whether to trust or help a stranger.

The conversation shifts to Forbes’ Scottish-Norwegian background and how his cultural heritage influences his understanding of societies, especially regarding isolation. Forbes notes the differences between Scottish and Norwegian cultures, with Norwegians tending to be more antisocial in public. He wanted “After Dark” to portray a realistic picture of Oslo in winter—“a very isolating time.” Forbes sees the film as an exploration of how urban environments can make us less open to strangers. This theme resonates globally, as many observe similar trends in their own countries.

The discussion explores how Forbes directs actors to emphasize tension. He explains that with Billy’s character (Mia), they discussed her backstory, which established some rules for her reactions. Mia’s complex history explains her behavior, and Christian’s (Simon’s) skepticism stems from his inability to understand her fully.

Having worked as a first assistant director (AD) on numerous projects, Forbes shares valuable lessons. He stresses the importance of beginning shooting promptly and avoiding unnecessary delays on the first shot. Respect for the team and expressing gratitude are also essential. “Saying thank you to everyone at the end of each day builds the team,” he says.

Forbes talks about the recognition he’s received, including winning the Student Academy Award for “Revisited” and “After Dark” qualifying for the Oscars. This acknowledgment has been motivating and has opened doors for his career in Norway. Currently, he is working on his first feature film, a continuation of themes from Revisited, focusing on a family dealing with grief.

Forbes shares his “origin story,” citing “The Fellowship of the Ring” as a pivotal cinematic experience. Though he initially wanted to be a writer, he discovered filmmaking at age 15 when his uncle gave him a camera. He realized that his writing was already highly visual.

Forbes mentions Hirokazu Kore-eda, a Japanese filmmaker known for his human dramas, as a major influence. He also references Robin Hobb, a fantasy author whose work blends human drama with fantastical worlds.

Forbes explains that Simon Booster was cast for his friendly and easygoing nature, while Billy Parker was chosen for her ability to portray innocence coupled with a mysterious edge.

To conclude, Forbes shares his desire to inspire others. He believes in the importance of positivity and encouraging each other. He hopes his films motivate viewers to strive for continuous improvement and to do better in their own lives.

The post “After Dark”, interview with Director Iain Forbes appeared first on Fred Film Radio.

Mo Abudu reflects on the emotional experience of showcasing “Dust to Dreams” at the 69th edition of BFI London Film Festival. This marks her second official selection in 10 years, following her first film “50”. Abudu emphasizes the importance of diverse representation in film festivals and appreciates the BFI’s commitment to showcasing cultures from around the world. She also discusses the recent screening of the film at the Toronto International Film Festival, highlighting her preference for festivals that embrace multiculturalism.

Abudu elaborates on the themes explored in “Dust to Dreams”, including family, legacy, and reconciliation. She highlights how the film diverges from typical portrayals of African cinema, which often focus on trauma and hardship. Instead, “Dust to Dreams” showcases shared aspirations and human traits of Africans, emphasizing themes of love, building, and reconciliation. The film features Seal in his first major acting role, alongside a talented Nigerian cast. Abudu underscores the universality of the story, which delves into conflicts within family structures.

Abudu recounts her collaboration with Idris Elba, who adapted the story for the screen and directed the film. She credits Elba with suggesting Seal for the lead role, a decision she describes as magical. The partnership between these two influential Black men resulted in a short film treated with the same care as a feature film. Abudu praises Elba’s humble approach and dedication to bringing his best to the project. The Nigerian cast also contributed significantly to the film’s success.

Abudu shares insights into the specific locations and cultural references that make “Dust to Dreams” a love letter to Lagos. She acknowledges Heidi Uis, the supervising producer, for finding suitable filming locations. The nightclub scenes were shot at Rococo, a club in Victoria Island, while the house scenes were filmed at Gugubiri. Abudu describes Lagos as a magical and energetic city, drawing parallels to New York City. The film also features real-life Afrobeat stars, showcasing the vibrant talent scene in Lagos.

He discusses the collaboration between Ebony Life and Green Door Pictures (now 22Summers), emphasizing their shared commitment to bringing African stories to a global audience. This partnership was made possible through funding from Fregsim Bank. Elba’s adaptation of the story and hands-on approach as a director were instrumental in the film’s success. Abudu highlights Elba’s dedication to engaging with cast and crew, demonstrating his commitment to the project.

Abudu reflects on her career journey, from working in human resources to becoming a media mogul. She expresses regret for not entering the media industry sooner, driven by a desire to change the narrative surrounding Africa. She started with a talk show, “Moments with Mo”, which led to the launch of Ebony Life Television and Ebony Life Films. Her ultimate goal is to change perceptions and showcase the human side of Africa. Abudu also discusses the Ebony Life Creative Academy, which provides free training for aspiring filmmakers.

Abudu explains the significance of the title “Dust to Dreams”, drawing a parallel between the film’s themes and the lives of many Africans. She acknowledges the challenges of a “dusty continent” but emphasizes the dreams that have become realities despite these obstacles. The film tells the story of a family overcoming conflict and achieving reconciliation.

Abudu discusses the co-production deals Ebony Life has secured with major Hollywood studios and streaming platforms. She attributes her success to perseverance and a willingness to face rejection. These partnerships have allowed Ebony Life to tell African stories on a global scale. Abudu also shares her long-term vision for the Ebony Life Creative Academy, which aims to provide free practical training in filmmaking.

Abudu shares the key lessons she emphasizes when speaking at institutions like Wharton, Cambridge, and Harvard. She highlights the importance of vision, planning, team-building, and finding purpose. Abudu credits her success to the amazing team she has assembled, who believe in the vision and purpose of Ebony Life. She encourages others to be honest with themselves and to create impact in the world.

The post “Dust to Dreams”, Interview with Producer Mo Abudu appeared first on Fred Film Radio.