FRED Film Radio - English Channel

The 2024 edition of Final Cut in Venice was won by “Aisha Can’t Fly Away”, a film directed by Morad Mostafa and produced by Sawsan Yusuf. Fred Film Radio interviewed them together with the curator Alessandra Speciale. The movie is about Aisha, a 26-year-old African migrant caregiver who lives in Cairo where she witnesses the underworld of African migrants’ society and the tension between the different groups.

Pressure, routine, dreary work and an undefined relationship make her dreams cross to her reality leading her into an impasse. Final Cut in Venice supports films in post-production from all African countries and five countries in the Middle East: Iraq, Jordan, Lebanon, Palestine and Syria. The goal of the project is to enhance the role of the Venice International Film Festival as a bridge builder supporting the production of independent quality films coming from Africa and Arab countries; providing concrete help to film production, and promoting the competitiveness of their audiovisual products on the international market.

“For me, the film is about alienation. It’s about the character, she’s belonging and doesn’t belong at the same time for her community. So if I can say something about the film in one word, it would be alienation”, says director Morad Mostafa. But is there an image or an element he started with to develop the project? “The first moment that came from me, when I was in a public bus in Cairo, and beside me, an African migrant girl was sleeping deeply for a while. And suddenly she wakes up screaming and crying. And she scared all the passengers in the bus. And then the bus stopped and she left immediately without any reason about what happened or this panic happened. This scene was stuck in my head for a long time. And from this moment, I was thinking about this character. About her dreams, her nightmares, her life in Cairo, because Cairo is a very hard city amongst people. So how about the refugees or strangers?”.

What does it mean from a production point of view to have Final Cut in Venice support? “Being at the Venice Film Festival, one of the biggest festivals in the world, is something that I consider as winning. For Final Cut, the connections were really great. And we got to meet a lot of people that we wanted to meet, and the list was amazing. We have been meeting some of the distributors we were targeting and the industry people” admits the producer Sawsan Yusuf. “And ending by winning the prize, that was something that we were really hoping for. And when it happens, I know that we have this in our CV of the film. And it will help in the visibility of it for the upcoming steps. It’s the first time we share any footage, and we still have a long way to go in the editing and the mixing and everything else. So at this point, I consider this is one of the biggest winnings that we had, and the biggest support. The positive energy and the push to continue on the journey and make sure that we are on the right track”.

What can be deduced from the 2024 edition of Final Cut in Venice and, after 12 editions, what should we expect for the future? “This year we had seven films in post-production, three films from Egypt. So that means that Egypt is living a very rich and productive moment. And five projects up to seven got prizes”, underlines the curator Alessandra Speciale. “We resist 12 years and we hope to go on. Also because we receive more and more good feedback. For instance, this year we have three films coming from Final Cut in Venice 2023 selected in Venice. We have two films this year in Orizontti, Carissa, a South African film, and a film from Palestina, Happy Holidays. And a third film, coming from Final Cut in Venice last year, already screened in Giornate degli Autori, Sudan, Remember Us. So I think that means that we have been supporting films that then have a very interesting career in the Festival”.

The post “Aisha Can’t Fly Away”, interview with director Morad Mostafa, producer Sawsan Yusuf and Alessandra Speciale, curator of Final Cut in Venice appeared first on Fred Film Radio.

The Venice Production Bridge day in 4 minutes!

Welcome to our Venice Production Bridge Daily Snapshot, your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival!

Join us as we delve into the world of film financing, co-productions, and market trends, bringing you exclusive insights, interviews with industry professionals, and behind-the-scenes highlights, all packed into a brief but informative segment.

The post The Venice Production Bridge day in 4 minutes – 04/09 appeared first on Fred Film Radio.

Interview during the 81st edition of Venice International Film Festival with Athina Rachel Tsangari, director of the film “Harvest”, and actor Caleb Landry Jones. The production, in competition in Venice Film Festival 2024, is an adaptation of the novel from author Jim Crace.

In their interview with FRED Film Radio, our guests told us thay they didn’t want to deliver a message to the audience, although they think that the movie talks about the lack of action that human beings show in facing threats against their way of life. The director revealed that Landry Jones was wearing the same boot he wore in the film during the interview.

“Harvest” takes us to a remote village -located in an unknown place, living in an undefined time- in which peasants live freely and enjoy their connection with nature. Suddenly a group of strangers arrive and they face the threat of an invasion. Alongside that, a mysterious man tries to draw a map of the land.

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Welcome to our daily insights from the 27 Times Cinema.

The 2024 edition of 27 Times Cinema will bring together ten former participants to serve as the jury for the GdA Director’s Award, marking the tenth anniversary of this accolade.

Together with their jury president, these former 27 Times Cinema participants will evaluate the films in competition with a fresh perspective, informed by their diverse experiences across various film-industry fields.

The post 8min of 10 27 Times Cinema – Esmée van Loon – 3rd September appeared first on Fred Film Radio.

The Venice Production Bridge day in 4 minutes!

Welcome to our Venice Production Bridge Daily Snapshot, your quick 4-minute update on the latest happenings at the industry hub of the Venice Film Festival!

Join us as we delve into the world of film financing, co-productions, and market trends, bringing you exclusive insights, interviews with industry professionals, and behind-the-scenes highlights, all packed into a brief but informative segment.

The post The Venice Production Bridge day in 4 minutes – 03/09 appeared first on Fred Film Radio.

Welcome to our daily insights from the 81. Venice International Film Festival, with Angelo Acerbi and Gaetano Maiorino.

Join us as we dive into exclusive interviews with filmmakers, actors, and festival insiders, uncovering the stories behind the most anticipated films.

Stay tuned for festival highlights, red carpet moments, and behind-the-scenes glimpses that you won’t want to miss.

Whether you’re a film buff or just curious, we’ve got all the excitement from Venice right here!

The post Venice Film Festival English Daily – 3rd September appeared first on Fred Film Radio.

Every day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several critics from all over the world talking about this year’s Venice festival movies, the actors and actresses attending the festival, as well as takes you into the magical atmosphere of the Venice Film Festival.

The post Highlights and film critics from the 81th Venice Film Festival – episode 3/09 appeared first on Fred Film Radio.

In an illuminating interview, Tan Chui Mui, the director of “I Am the Beauty of Your Beauty, I Am the Fear of Your Fear”, Section Giornate degli Autori, shares the inspiration and personal journey behind her latest short film, part of the Miu Miu Women’s Tales project. This film is the 27th installment in the acclaimed series, which invites innovative female filmmakers to explore the complexities of femininity and vanity in the 21st century.

Set in Malaysia, the film follows Gita, a young woman who has fled China after a tragedy forces her to confront her past. “I wanted to create a space for exploration,” Tan explains. Gita’s journey is not just geographical; it is deeply introspective as she navigates her struggles and learns to fight and reclaim her strength through sisterhood. The pain of her former life lingers, propelling her into an emotional and turbulent struggle. As the narrative unfolds, it becomes evident that Gita’s battle is not only against external challenges but also a profound confrontation with herself and her fears.

Tan‘s choice to set the film against the lush backdrop of Malaysia allows for an exploration of identity and belonging within a culturally rich environment. “In the film, Gita grapples with the complexities of her situation while surrounded by a community that empowers her,” Tan explains, highlighting themes of sisterhood and support that resonate throughout the story. The camaraderie among the women serves as a lifeline for Gita, providing her with the physical and emotional strength needed to face her internal battles.

The film delves into the concept of “self-defense” and what it means for women today. Tan articulates, “Through Gita’s journey and her interactions, I aim to explore the transformative power arising from struggle.” At one pivotal moment, Gita has a conversation with an Indian flower seller who introduces her to the myth of Kali, the goddess of time, destruction, and transformation. “By grappling with our deepest fears, we often uncover our intrinsic strength and beauty,” Tan emphasizes, capturing the essence of both the character’s and the film’s philosophy.

As “I Am the Beauty of Your Beauty, I Am the Fear of Your Fear” navigates the themes of emotional vulnerability and empowerment, Tan skillfully intersects the personal with the mythical. The storytelling is layered with symbolism, emphasizing that the quest for self-discovery is both a personal and universal journey. “This film reflects the perpetual struggle women face; it embodies the idea that finding one’s identity is at the core of personal strength,” she shares.

Tan reflects on her experiences as a filmmaker and how her cultural background shapes her perspective. Growing up with a passion for storytelling, she draws upon her heritage to craft narratives that resonate on a broader scale. Miu Miu Women’s Tales provides a platform for her to critically engage with femininity, challenging stereotypes and broader societal narratives. “I hope that through Gita’s journey, audiences can see the complexities of identity and the multifaceted nature of love and resilience,” Tan expresses passionately.

The film’s visual composition plays a crucial role in underscoring the themes of isolation and connection. Tan employs rich cinematography that captures contrasting landscapes, immersing the audience in Gita’s emotional journey. These cinematographic choices not only enhance the film’s aesthetic quality but also deepen the audience’s emotional connection with the characters.

In conclusion, “I Am the Beauty of Your Beauty, I Am the Fear of Your Fear” stands as a poignant exploration of identity, femininity, and strength in the face of adversity. Through Tan Chui Mui‘s deft direction, the film encapsulates the struggles and triumphs faced by women in their pursuit of self-acceptance and empowerment, inviting viewers to reflect on their own experiences.

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In a thought-provoking interview, Elizabeth Lo, the director of “Mistress Dispeller”, Orizzonti section, offers her insights into the film, which intimately examines lives entangled in marital infidelity. The film follows Wang Zhenxi, a professional “mistress dispeller” in China, who helps couples preserve their marriages by ending extramarital affairs. Lo’s storytelling takes the audience on a gripping journey filled with emotion, pragmatism, and cultural nuances, exploring the dynamics of a love triangle.

The concept for the film originated from Lo‘s observations of relationships and the roles people play within them. “I’ve always loved love stories. Growing up in Hong Kong, the romance section of the movie rental store always captivated me,” she explains. However, her own experiences of love—marked by sacrifice and unspoken duties—differed significantly from the idealized visions seen in films. By focusing on infidelity, she sought to portray genuine emotions and the intricate realities behind romantic relationships.

Lo sheds light on the emergence of the mistress-dispelling profession, which has gained popularity in response to rising rates of infidelity in modern China. “This industry allows women to infiltrate the lives of mistresses, often without those involved realizing the full extent of the situation,” she reveals. “For a fee, these professionals are hired to gain the mistresses’ confidence and influence them to end the affair willingly.” This unique perspective explores not only the nuances of human connection in intimate relationships but also highlights the societal pressures surrounding fidelity.

Throughout the film, Lo captures the unfolding drama from multiple perspectives, shifting sympathies between the husband, wife, and mistress. “I aimed to create a Rashomon-inspired narrative where each character’s perspective influences the audience’s understanding of the unfolding events,” she states. This layered storytelling allows viewers to empathize with each character’s motivations and struggles, creating a rich emotional tapestry.

The director’s commitment to authenticity is evident in the production process, where she faced several challenges in documenting a real mistress-dispelling case. “Establishing trust with our subjects was paramount,” Lo notes. She and her team meticulously built relationships with Teacher Wang and her associates to ensure the documentary captured genuine interactions and emotional exchanges. The artistic tension in the film is heightened by the ethical considerations of filming individuals navigating personal crises, allowing the audience to witness vulnerable moments leading to crucial revelations.

One of the film’s pivotal themes revolves around the complexity of love and its many forms. “While many may view love through a traditional lens, it is essential to explore the varying dynamics and emotional turmoil that accompany it,” Lo states. “Each character’s experience reflects the societal and personal intricacies that influence their decisions.”

Lo expertly weaves the soundtrack and visual elements of the film to enhance its emotional depth. “We chose music that spans across genres, from Puccini to contemporary indie, to express the complex nature of relationships and the push and pull between connection and isolation,” she explains. The cinematography also plays a crucial role in telling the story, using intimate shots that invite the viewer into the characters’ emotional landscapes.

As “Mistress Dispeller” prepares for its world premiere, Lo emphasizes her goal of bridging cultural divides through storytelling. “In an era of polarization between the U.S. and China, I want to create narratives that foster understanding,” she states passionately. By uncovering universal experiences of love and betrayal, she hopes to spark dialogue that resonates with viewers around the world.

In conclusion, “Mistress Dispeller” is a film that courageously explores the complexities of love, fidelity, and the human condition. Elizabeth Lo’s sensitive direction and keen understanding of the emotional intricacies at play create a powerful narrative that invites reflection on the nature of relationships in contemporary society.

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In this interview, Neo Sora, the director of “Happyend“, Orizzonti section, takes us through the emotional and thematic heart of his film, which explores the transformative moments between two best friends, Yuta and Kou, as they navigate the complexities of adolescence in a near-future Tokyo. The film unfolds against the backdrop of impending chaos triggered by a prank that leads to the installation of a surveillance system in their school.

Sora emphasizes that friendship is central to the film’s narrative, describing it as an ambiguous and evolving relationship. “To me, friendship is one of the most important aspects of life. My friendships during high school and university shaped who I am today, and I owe everything to my friends,” he explains. However, the director acknowledges that, unlike other relationships, such as those with family or partners, friendship lacks explicit rules, leading to unpredictable dynamics. “This ambiguity can lead to misunderstandings, even among those who care deeply for one another,” Sora reflects.

The film portrays the tension that arises when Kou becomes frustrated with the oppressive environment created by the school’s new surveillance system, while Yuta remains largely unaware of the surrounding sociopolitical realities. “This contrast between their responses to the situation highlights the different paths that young people may take when confronted with social pressures,” Sora notes. Kou’s political awareness begins to develop after meeting a passionate student activist, leading the film to explore the emotional weight of their long-standing friendship and forcing them to confront differences they had never expressed before.

During the interview, Sora draws parallels between his film and classic works centered on youth rebellion. He cites Rebel Without a Cause and the Taiwanese New Wave as key influences: “The characters in my film are rebels in their own right, albeit not in the traditional sense. Their rebellion manifests differently, depending on how society pressures them.” Sora‘s ability to channel the energy of these foundational films, while adding humor and contemporary relevance, enriches the exploration of youth culture in the film.

From a cinematic perspective, “Happyend” employs striking visual storytelling that amplifies the emotional arcs of the characters. Sora discusses the importance of lighting and practical effects, especially in crucial scenes that illustrate the state of their friendship. “The dangling light represents the instability of Yuta and Kou’s relationship,” he explains. The film captures moments of tension and uncertainty, marking shifts in their friendship, similar to the looming threat of an earthquake—a physical representation of their emotional turmoil.

The director reflects on the collaborative process with director of photography Billy Kirstein, noting that their long history of working together significantly influenced the film’s visual style. “Billy and I know each other very well, and we share many cinematic influences. It was crucial to create a world that felt deeply personal and intricate while also maintaining the broader social commentary of the film,” Sora articulates.

As the film progresses, the dynamics between the characters evolve, and Sora captures this development through purposeful cinematography. While the focus is on Yuta and Kou, their interactions also reflect the broader social context, adding layers of depth to the narrative. “The challenges they face are not unique to them; they reflect the turbulent reality of their generation,” he observes.

“Happyend“ also emphasizes the emotional undercurrents of today’s youth, addressing issues related to identity, rebellion, and social expectations. Sora explains, “Many young people face pressures that force them to choose between conformity and authenticity. This journey is essential for individual growth.” The film stands as a testament to the complex nature of friendship, the challenges of youth, and the shifting political landscape they navigate.

In conclusion, “Happyend” is a poignant portrayal of adolescence and transformation, set in a world fraught with social and political tensions. Through Neo Sora‘s nuanced direction, the film invites viewers to reflect on their own journeys, friendships, and the society they inhabit. The intricate storytelling, combined with powerful performances, creates a compelling narrative that resonates on multiple levels.

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