FRED Film Radio - English Channel

Alexia De Vito – head of New Cinema Network

With Alexia De Vito, head and manager of New Cinema Network in Rome , we talk about this new edition, with its new and confirmed features. We also get an insider’s view about the importance of the core functions of the co-production markets, in Europe, in a more general view of the modern cinematic landscape.

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Lucia Millazzotto – director – MIA (International Audiovisual Market)

The new entity that MIA (International Audiovisual Market) is has several new features and specific aims , that will transform this market-place in a new comprehensive and unmissable destination for all the key players of the cinema and tv industries. Let’s hear it from the director, Lucia Millazzotto.

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Yann Arthus-Bertrand – director – Human

Famous French photographer Yann Arthus-Bertrand tells us about the intentions behind the indescribable experience that is the movie Human with the same love, generosity and hope that can be felt throughout the movie and continues to explode in the viewer’s chest long after the movie is over.

He tells us about people who have nothing and think they have too much, about how similar we all are in our differences, about the beauty in all of us, and how making this film made him a better person.

Because this is what he wants to share, he also reminds us that this movie is a non-commercial project and that it can be procured for free to share it even more (website:http://www.human-themovie.org/).

HUMAN: Hundreds of people, of faces, of stories, big and small, ordinary and unique, vulnerable and brave to sum up in all its complexity what it is to be human, just that and all that. An overwhelmingly emotional journey of reconciliation and love that says it all, and fills the heart with the most beautiful and universal sentiment. A non-commercial film for the world, with breathtaking, perfect images and heart-wrenchingly potent music.

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Esther May Campbell – director – Light Years

FRED’s Chiara Nicoletti meets Esther May Campbell to talk about her first feature film LIGHT YEARS, in competition at the Venice Critics’ Week 2015.

The idea behind the film is that family bonds are unbreakable even though their elements are light years away. the film introduces nature and its elements as another protagonist in the story.

LIGHT YEARS: Rose reckons a family is like a constellation – all connected, hanging up there, in the infinite. Stars can feel each other, even if some died millions of years ago. Even if they’re light years apart. Over the course of one long day, as mum wills her children closer, Rose’s fractured family pulls back into its constellation. Aching to reconnect they find themselves facing the true implications of their own devastating, inherited legacy.

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Mirsad Purivatra – director – Sarajevo Film Festival

FRED’s Nicolò Comotti interviews the founder and director of the Sarajevo Film Festival, Mirsad Purivatra, who attended the 72nd edition of the Venice Film Festival.

He talks to us about his opinion of how this year’s edition of the Sarajevo Film Festival went – which marked its 21st year – and some of its highlights as well as a little background info on its history. But of course, then he talks about his activities at the Venice Film Festival.

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The Sardegna Film Foundation launched the Heroes 20.20.20. project in collaboration with the Sardinian Regional Department of Industry, the Energy Service, and Sardegna Research. Its goal is to promote eco-sustainable best practices on the local level by creating a new public awareness campaign to celebrate the “everyday heroes” of environmental sustainability via original audiovisual material. Listen to the podcast to find out more!

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Atom Egoyan – director – Remember

FRED’s Chiara Nicoletti meets Atom Egoyan , director of REMEMBER, in competition at the 72nd Venice International Film Festival.

The film, starring Christopher Plummer , explores the concept of revenge and on whether it can really ease the pain.

To cite the director’s words “This is one of the last stories that can be told—in the present day—about the darkest chapter of our history. REMEMBER is about the living survivors, both victims and perpetrators. Its background is the need for vengeance, but its narrative is about unexpected trauma and the effects this has on the character’s life. Zev is a reservoir of history, and the fact that he is losing his memory is compelling. Is he still responsible for his actions? What does it mean to be responsible? What does it mean to seek justice? In this past year, several former Nazis have been discovered. Are they still monsters? Were they always monsters? These are the sorts of questions I hope this film will ask. There are no easy answers. This is what defines our humanity”.

REMEMBER is the contemporary story of Zev, who discovers that the Nazi guard who murdered his family some 70 years ago is living in America under an assumed identity. Despite the obvious challenges, Zev sets out on a mission to deliver long-delayed justice with his own trembling hand. What follows is a remarkable cross-continent road-trip with surprising consequences.

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Philip Øgaard – cinematographer – Kitchen Stories / Zero Kelvin / North / When Bubbles Burst

FRED’s Matt Micucci has the pleasure of interviewing one of Norway’s premier cinematographers and one of the most revered cinematographers in the world – Philip Øgaard.

This year, the Ostrava Kamera Oko paid tribute to Scandinavian cinematographers in a section dedicated to it named Nordic Lights. Naturally, Philip Øgaard could not be left out, and four films in which he worked are featured in the programme – NORTH, ZERO KELVIN, KITCHEN STORIES and WHEN BUBBLES BURST.

We talk with him about his beginnings, his techniques, the way he works, what he thinks of the cultural value of the visual language of film and of course, what he thinks makes the distinctive Scandinavian type of cinematography so universally acknowledged, referenced and admired.

Norwegian cinematographer born in 1948. Since 1983, he has been collaborating with a number of Scandinavian film and TV directors and won a number of awards at Norwegian and international film festivals. His frequent collaborators include e.g. director Martin Aspahug (Kim Novak Never Swam in Genesaret’s Lake, 2005) and Hans Petter Moland, director of the film Aberdeen from 2000 for whichØgaard won the Bronze Frog award at the Camerimage festival. With Moland, he also shot the film In Order of Disappearance (2014) selected for the main competition of Berlinale.

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John Andreas Andersen – cinematographer – Headhunters / King of Devil’s Island

FRED’s Matt Micucci interviews cinematographer John Andreas Anderson, one of the world’s most celebrated cinematographers, and a guest of the Ostrava Kamera Oko 2015, a festival that pays tribute to the work of those in his line of artistry.

Two films on which he collaborated, HEADHUNTERS by Morten Tyldum and KING OF DEVIL’S ISLAND by Marius Holst were screened here, but he also hosted a masterclass during the course of the festival.

We took this opportunity to talk to him about many aspects of cinematography. Such as the impact the digital revolution had on the film industry. Whether he finds it is good to be well prepared or absolutely impulsive. Having been the assistant to the great cinematographer early in his career Sven Nykvist, and one of the biggest representatives in today’s cinema of the Scandinavian cinematography, we take the opportunity to discuss with him why this particular style and visual language is so influential all over the world. All this and much more.

John Andreas Andersen was born in 1971 in Flekkefjord, Norway. He has won national film competition aged only 16 and decided to work with film. As DoP he has worked on short-films, music-videos and documentaries. In 1994 John got a position as camera assistant for world famous DOP Sven Nykvist, ASC (1922-2006).With Sven’s support he got into filmschool; AFI in Los Angeles in 1996. Since filmschool he has made features and commercials. John A. Andersen is a winner of several awards; including four Kanon Awards for Best Cinematography of the year, the Amanda-award (Norwegian «Oscar») and the Kodak Nordic Vision Award for his “King of Devils Island”(dir. Marius Holst).

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Jimmy Gimferrer – cinematographer / member of OKO 2015 jury

FRED’s Matt Micucci interviews Jimmy Gimferrer, cinematographer and winner of last year’s Ostrava Kamera Oko.

Although he was unable to attend the festival last year, where he won the festival’s main award for his cinematography in the film by Albert Serra STORY OF MY DEATH, he agreed to be part of the jury of the main competition at this year’s edition, the 7th in its history. And it’s a pleasure to hear his passionate and strong views on cinematography.

Not only does he give a detailed and almost philosophical account on STORY OF MY DEATH by Albert Serra. He also comments on the waves of cinema, and what shaped it to the mostly underwhelming way in which it is today. But we also talk about the “method to his madness” in his chat with us about the way in which he works.

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