FRED Film Radio - English Channel

In this heartfelt interview, we speak with Myriam El Hajj, the director of “Diaries from Lebanon”, during the 15th edition of the Middle East Now festival in Florence. Myriam openly shares her emotions regarding Lebanon’s current situation, expressing deep anger and grief over the ongoing struggles faced by her country. With personal ties to the Lebanese Civil War—her family was heavily involved—Myriam’s storytelling is deeply rooted in her intimate experiences, depicting a society still grappling with the consequences of decades of conflict. She remarks, “This film is a continuation of my journey to understand the past,” underscoring how the trauma of war continues to haunt the everyday lives of individuals and families across Lebanon.

The documentary serves as a powerful reflection on a nation where the echoes of historical violence remain ever-present. Myriam elaborates on the enduring political turmoil, sharing her belief that former warlords still hold sway, further complicating the lives of the Lebanese people. In “Diaries from Lebanon”, she uses striking visual metaphors, such as balloons soaring above scenes of destruction. This artistic choice allows her to convey complex emotions and themes without resorting to graphic portrayals of violence. “I wanted to focus on feelings rather than just the destruction,” Myriam explains, emphasizing her intent to capture the emotional depth of her characters and the richness of their stories.

As she delves into this deeply personal narrative, Myriam El Hajj also aims to challenge the conventional portrayals often presented by international media. By drawing on her own experiences and family history, she highlights the importance of understanding Lebanon’s reality from an insider’s perspective. In her film, she invites the audience to look beyond the sensationalized images of violence commonly shown in the news, offering instead an intimate view of the lives affected by these events. This approach is essential not only for documenting pain but also for fostering empathy and a deeper connection with viewers who may be unfamiliar with the complexities of Lebanon’s historical and ongoing struggles.

Furthermore, Myriam El Hajj discusses the dual role of filmmakers as both storytellers and activists. The film is not merely a documentation of past events; it actively seeks to educate and inform audiences about Lebanon’s social and political realities. “Our role as filmmakers is to challenge dominant narratives and present our version of the story,” she asserts, acknowledging that many misconceptions, especially in Western media, persist. Her work aims to bridge this gap, offering a nuanced perspective that highlights the resilience of her people amid adversity.

Despite the difficulties of screening the film in Lebanon due to the unpredictable political climate, Myriam El Hajj  remains committed to ensuring that these stories reach their intended audience. She expresses hope for local screenings, emphasizing the significance of sharing the film within Lebanon itself, where it reflects four to five years of intense lived experiences. The characters in the film represent the stories of countless individuals whose lives have been shaped by Lebanon’s turbulent history, and it is essential for them to see their experiences represented on screen.

In her mission to share “Diaries from Lebanon”, Myriam El Hajj demonstrates a profound dedication to amplifying voices that are often silenced. The documentary stands as a testament to the power of film in fostering understanding and sparking dialogue on critical social issues. Learn more about her journey and the impact of “Diaries from Lebanon”, and don’t miss the opportunity to witness this compelling cinematic work.

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From Peter Chelsom, the director of “Serendipity”, a new heartwarming family film, “A sudden case of Christmas“, premieres at Alice nella Città in Rome.

The film, all shot in the glorious italian Dolomites, sees the participation of Danny De Vito, his daughter Lucy and the young Antonella Rose, in the leading role.

Antonella Rose plays Claire, a 10 year old American girl, who finds out that the only reason she was brought, during summer, at her grandfather’s hotel in The Dolomites, was that he could be the one to tell her about her parents’ splitting up.

Danny De Vito, who plays Lawrence, Claire’s grandfather in the film, tells her that she’s a catalyst as she’s a boost for the people surrounding her.

With his experience in family films and romantic comedies, Peter Chelsom then tries to define what makes a Christmas movie. Then, he proceeds to explain in which ways, A sudden case of Christmas, in italian “Ops!È già Natale” is an italian film.

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“Reading Lolita in Teheran”, based on the best selling book by Azar Nafisi, is premiering at the 19th Rome Film Festival.

The film, shot in Rome and directed by Israeli director Eran Riklis, gather together an Iranian-International cast guided by Goldshifteh Farahani and composed by Mina Cavani, Zar Amir, Bahar Beihaghi, Isabella Nefar, Haha Rahbari and Lara Wolf.

As it tells the intimate and real story of women in Iran, fighting and surviving the regime with literature and art, this film project was very important and life changing for the whole cast, especially the actresses involved.

Farahani with her fellow colleague Mina Kavani, reminds us: “We don’t have a home anymore but as it is also said in the film, we are Iran, we left Iran but Iran never left us and will never leave us”

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The film premiered at the 19th Rome Film Fest where it was shot as it is an international co-production.

“Reading Lolita in Teheran” brings to cinema life the real and intimate story of women in Iran, fighting the regime with literature, art, trying to save their souls.

Along with Azar Nafisi and the entire cast of the film, Israeli director Eran Riklis tells us about the work he did on adapting the book to the big screen as Azar Nafisi’s “Reading Lolita in Teheran”, with its depiction of both human relationships and political and global matters, struck a deep emotional chord in him.

Azar Nafisi explains that she was desperately trying to survive as her whole world was controlled by the regime. She then found her way to do it: “The only way I could save myself was to write this story as it happened and not as the regime fabricated and that’s what Eran did with the film”.

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Director Mareike Engelhardt debuts in competition at Alice nella Città with her bold first feature film “Rabia”. The film delves into the disturbing phenomenon of radicalization, confronting the difficult questions surrounding political extremism, manipulation, and gender-based violence.

At the heart of “Rabia”is the story of a young woman who leaves her home to join the jihad in Syria, only to find herself imprisoned in a women’s house.

The film is based on real-life events during a significant period of global conflict. Between 2014 and 2017, thousands of young people left their homes to join jihadist groups, and a third of them were women. Engelhardt recalls her astonishment upon learning this: “They were between 14 and 20 years old… that in itself for me was unbelievable.”

Researching such a controversial and sensitive topic might seem daunting, but Mareike Engelhardt found the process surprisingly straightforward. She attributes much of her success to the willingness of the women who returned from Syria to share their stories. “I needed to get in touch with women… they were surprisingly happy to talk to me. So there was a real need of sharing their story,” Engelhardt recounts. The film is constructed from these real-life stories, with nothing in “Rabia” being invented. Additionally, Engelhardt worked closely with journalists who had extensive knowledge of these women, which added further depth and authenticity to the narrative.

At the centre of Rabia is the character of Madame, portrayed by Lubna Azabal. Madame is a complex and terrifying figure, both charismatic and chilling. Engelhardt and Azabal shared a deep interest in exploring such figures’ dark, manipulative personalities. “We share a very deep interest in those kinds of dark characters, those leader characters, which are very intelligent and just as horrible,” Mareike Engelhardt reflects.

The character of Madame is based on a real Moroccan woman who orchestrated the system of female domination in Syria, and Azabal had followed this woman’s story for years.

The film also features a profound character arc in Jessica, a young woman whose transformation from a naive victim to a brutal torturer lies at the heart of “Rabia”. Played by Megan Northam, Jessica’s journey symbolizes the insidious power of psychological manipulation.

“Why would they go? What are their motivations?” Engelhardt and Northam spent significant time analyzing the psyche of these women, understanding how individuals can be radicalized not through grand political ideas but through intimate relationships and psychological manipulation.

“Rabia” has its international premiere at Alice nella Città, a festival known for its young audience. Mareike Engelhardt hopes her film will resonate with them, encouraging vigilance in the face of extremism. “It’s today more important than ever for young people to realize what it is to be manipulated and radicalized… be it the extreme right-wing or radicalized Islam… binary totalitarian thinking is a constant threat in the world we live in,” she asserts.

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“Milano“, directed by Christina Vandekerckhove and starring Matteo Simoni, is in competition at Alice nella Città. The film explores the intricate relationship between a father and his deaf son, tackling themes of resilience, communication, and unconditional love.

“Milano“ centres on Alain (played by Matteo Simoni), a father raising his deaf son, Milano, alone. The film’s core is the complex dynamic between them, further challenged when Milano’s biological mother reappears. Christina Vandekerckhove described the film as “a story about resilience, but also about the loyalty of the child towards both parents.” She was inspired by real-life conversations with parents while researching a documentary on social housing. “I met a father who hadn’t seen his son in years. His helplessness and struggle stayed with me,” she shared.

Matteo Simoni took on the challenge of playing Alain, a man haunted by his limitations and past trauma. “Alain deeply wants to give his son a better life, but struggles with his own limitations,” Simoni reflected. Preparing for such a complex role involved meticulous rehearsals and discussions. “We talked a lot about who Alain is, his background, and rehearsed extensively on location. It allowed us to work in a very precise and organic way,” Simoni explained. The actor also emphasized how working with Basil Wheatley, the deaf actor playing Milano, added layer of complexity: “You can’t just improvise. We had to stick to the script because Basil had to know the scene by heart.”

A recurring element in “Milano“ is the wind, which serves as a metaphorical layer representing the emotional turbulence within the characters. Vandekerckhove sees the wind as a way to express Milano’s unspoken emotions. “For me, the wind and rain are an extra layer that conveys Milano’s feelings without using words or sound. It’s important to me that the audience can feel the wind and the rain as part of the emotional landscape,” she explained.

Matteo Simoni appreciated this choice, adding that “it makes the film slightly bigger than life, yet still deeply rooted in reality.” The wind becomes a poetic device, highlighting the unspoken struggles between Alain and his son.

At its heart, “Milano” is a story of parenthood, resilience, and the responsibility we bear as parents. Vandekerckhove hopes audiences will be moved by Alain and Milano’s journey. “It’s a universal story. I hope people recognize themselves in these characters and are touched by their struggles,” she said. Simoni also reflected on the film’s message about raising children with love and patience: “One day, they will rule the world. It’s our task to raise them with care, to listen to what they need.”

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“We want to live here”, Moldavian actress Alexandrina Turcan’s directorial debut, has been presented at Alice nella Città in Rome.

The documentary short film, produced by Sean Penn, is a subtle glimpse in the every day life of kids in Borodyanka, Ukraine.

Turcan reveals that she had one simple goal with her film: to witness the impact of war with her own eyes. She knew it wasn’t the destroyed buildings or the constant bombings that would terrify her, but the people.

While walking through the deserted playgrounds of the city, she found a group of boys. Earning their trust, which took gentleness, patience, and time, she got to portray them in her film.

The stories of Volodymir, Vitalyi, and Matviy are windows into the hearts and minds of Ukraine’s youngest survivors.

Alexandrina Turcan talks about the strength of the Ukrainian spirit that she found and delved into with the film.

Sean Penn got on board as a producer after watching her work and that’s how Turcan’s career as director begun.

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Fred Film Radio had the pleasure of sitting down with Yasemin Şamdereli, co-director with Deka Mohamed Osman of “Non Dirmi Che Hai Paura“, in competition at Alice nella Città. The film tells the inspiring yet tragic story of Samia Youssef Omar, a young Somali girl who escaped war-torn Mogadishu to follow her dream of competing in the 2008 Olympics in Beijing. Şamdereli’s film masterfully balances Samia’s journey between the highs of her Olympic aspirations and the devastating realities she faced.

Şamdereli emphasizes the universal nature of Samia’s story, drawing attention to her focus on portraying a “Non Dirmi Che Hai Paura” to whom audiences can relate. “The only difference between us and Samia is where we were born. Some are lucky enough to be born in a safe country, while others like Samia face political turmoil,” she explained. Through this lens, “Non Dirmi Che Hai Paura” highlights the resilience of individuals like Samia, who strive to make the best out of difficult circumstances.

Family plays a central role in Samia’s life and the film. Şamdereli delves into how Samia’s father, her biggest supporter, and her relationships with her sister and friends shaped her journey. “There are many Muslim families, like Samia’s, who support their daughters in chasing their dreams. We often only see one side of the story, but there are so many who empower their children,” Yasemin Şamdereli remarked. This theme, she says, was crucial to portraying a more balanced view of Muslim families.

Yasemin Şamdereli hopes that audiences will leave the film with Samia’s story in their hearts, recognizing the universal human experience behind it. “It’s about seeing the human side of every person, no matter where they come from or what they’ve gone through,” she reflected. Through “Non Dirmi Che Hai Paura“, Şamdereli offers a heartfelt tribute to Samia’s courage and the importance of understanding and empathy.

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After the successful screenings at the San Sebastian Film Festival, Edward Berger brings his new film “Conclave” at the 20th Zurich film Festival.

The film follows one of the world’s most secretive and ancient events: selecting the new Pope.

Ralph Fiennes plays the Cardinal in charge of coordinating the activities.

Edward Berger reveals that he was attracted to Robert Harris’ book, which the film is based on, not only for the natural curiosity that the Vatican world inspires but because he could relate to doubt.

“I was interested in Ray Fiennes’ character journey of uncertainty and doubt – he clarifies in the interview –  because I can relate to doubt as I think many people can”.

The director also gives his personal comment on a concept expressed in the film: “The men who are dangerous are the ones who do not want to become Pope”.

“Conclave“ manages not to completely fall on the curiosity of what happens behind the Vatican Doors so to become a universal tale on power, ambition and politics.

Among the themes the film directly and indirectly tackle, the “women” issue is often explored. The role of women in society and in positions of power is a very important element the film delves into.

“Conclave“ is ready to land, in a few days, in the city it has been shot and takes place in: Rome and Rome Film Festival

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On the cusp of the BFI London Film Festival 2024 beginning, we speak with festival programmer Isabel Moir about what stands out on the programme this year, from the world premieres to the most talked about and buzzy titles from across the festival calendar from known auteurs, plus the emerging talent to look out for.

We discuss the emphasis on a diverse range of talent and voices being given a platform, particularly one that reflects the multiculturalism of London itself, and some of the top titles showing, from Jacques Audiard‘s “Emilia Perez” to Sean Baker‘s “Anora” to opening movie, Steve McQueen‘s “Blitz“.

We also hear about other elements of the programme such as LFF for Free and LFF expanded, which add to the richness and variety of the festival, with a focus on accessibility and inclusivity.

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