FRED Film Radio - English Channel

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 – Dimosthenis Kontes – 30th August 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 30/08 appeared first on Fred Film Radio.

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

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!

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In a compelling interview, Rusudan Glurjidze, the director of “Antikvariati” (The Antique) in Giornate degli Autori section, and Marie-Pierre Maciá, the film’s producer, share their insights into the inspiration and creation of a film that intimately relates to the hopes and aspirations of migrants. Rusudan Glurjidze explains that the inspiration stems from her own experiences, as well as those of her fellow Georgians during tumultuous times. Through this film, Glurjidze aims to shed light on the harsh realities faced by migrants and the exceptional resilience they exhibit in confronting adversity.

Throughout the conversation, Glurjidze emphasizes the critical influence of the political climate, particularly the fraught relationship between Georgia and Russia, on the narrative of “Antikvariati” (The Antique). She poignantly notes that the politically motivated mass expulsions of Georgians were not random events but actions with dire consequences for countless lives. Glurjidze seeks to highlight how these political decisions undermine human dignity, illustrating the film’s focus on the impact that politics can have on the everyday lives of individuals.

Set in contemporary St. Petersburg amidst illegal mass expulsions, the historical context informs the emotional and narrative depth of the story. Glurjidze articulates how this backdrop shapes the characters’ motivations and struggles, as they embody the real-life experiences of those who suffered through these events. Their journeys reflect a pursuit of hope and a better life, drawing authenticity from the director’s personal connection to these experiences. The personal connection to the deportations deeply influences Glurjidze‘s filmmaking approach. She describes filmmaking as a means of processing her trauma and that of her compatriots. For her, it is essential to tell these stories to ensure that these experiences are recognized and understood by a broader audience.

“Antikvariati” serves not just as a narrative but as a form of catharsis and remembrance. Marie-Pierre Maciá adds that the film is also a response to contemporary challenges regarding migration and human rights. She emphasizes the importance of bringing such stories to the screen, not only to bear witness to past injustices but also to spark conversation and awareness about the current plight of migrants worldwide. Another significant theme discussed is the distinction between migration as a choice versus migration as a necessity. Glurjidze emphasizes that conveying this difference is essential to reflect the complex realities of migration. While some may migrate in pursuit of better opportunities, others face a desperate escape from persecution and violence. By portraying these divergent experiences, she hopes to foster empathy and a deeper understanding among viewers regarding the multitude of reasons individuals migrate. As for the film’s broader appeal, Glurjidze and Maciá express their hope that “Antikvariati” resonates with audiences unfamiliar with the specific geopolitical tensions between Georgia and Russia.

By focusing on universal themes of displacement, hope, and the longing for belonging, they believe viewers from any background can find relatable and relevant aspects of the story, regardless of their prior knowledge of the geopolitical context. Glurjidze also reflects on the delicate balance of intertwining personal and political narratives. She acknowledges that grounding the political narrative in personal stories is critical to engage audiences on an emotional level, making abstract political issues more relatable through real experiences. The personal connection serves to humanize these topics, facilitating a deeper audience understanding of the challenges faced by migrants.

Looking forward, Glurjidze and Maciá articulate their hopes for viewers to leave “Antikvariati” with a heightened awareness of the complexities surrounding migration. They intend for audiences to see and appreciate the human stories behind statistics, fostering compassion for migrant experiences and an urgent desire for social justice. In discussing the contribution of their film to the ongoing conversation about migration and human rights, Glurjidze and Maciá envision “Antikvariati” as a conversation starter regarding the human rights challenges migrants face today. By foregrounding these narratives, they aim to inspire dialogue and advocacy that can facilitate meaningful change in societal perceptions of migration. Finally, Glurjidze conveys a powerful message about the impact of political decisions on individual lives through “Antikvariati.” She stresses the film’s intention to highlight how political actions produce real, often devastating consequences for ordinary individuals. In her closing remarks, Glurjidze hopes to leave audiences with the reminder that humanity must take precedence over political agendas and that every deportation and act of exclusion carries profound implications for human lives.

The post “The Antique (Antikvariati),” interview with Director Rusudan Glurjidze and Producer Marie-Pierre Marciá appeared first on Fred Film Radio.

“Beetlejuice Beetlejuice“, opening film of the 81st Venice International film festival, reunites on the big screen the Deetz family: Oscar nominee Winona Ryder (“Stranger Things“, “Little Women“) as Lydia Deetz and two-time Emmy winner Catherine O’Hara (“Schitt$ Creek“, “The Nightmare Before Christmas“) as Delia Deetz.

With Michael Keaton returning to his iconic role, the film adds new cast members like Justin Theroux (“Star Wars: Episode VIII – The Last Jedi“, “The Leftovers“).

Winona Ryder admits: “There’s so much heart in this movie and it’s a walk through this Garden of imagination that is Tim’s brain”.

“Going back made us feel that our characters actually existed” reflects Catherine O’Hara when talking about her feelings in playing Delia Deetz again since 1988.

“Beetlejuice Beetlejuice” will come out in cinemas on September 5th, 2024.

The post “Beetlejuice Beetlejuice”, interview with actors Winona Ryder, Catherine O’Hara and Justin Theroux appeared first on Fred Film Radio.

Oscar-nominated, singular creative visionary Tim Burton and Oscar nominee and star Michael Keaton reunite for “Beetlejuice Beetlejuice“, the long-awaited sequel to Burton’s award-winning “Beetlejuice“.

“Beetlejuice Beetlejuice“ is the opening film of the 81st Venice International Film Festival and besides reuniting the demon Beetlejuice with Lydia (Winona Ryder) and Delia (Catherine O’Hara) Deetz, it welcomes new characters and new cast members.

In this new adventure, Lydia has a rebellious teenage daughter, Astrid, played by Jenna Ortega, Burton’s “Wednesday“ on Netflix.

Tim Burton explains that he talked a lot over the years with Michael Keaton about doing the sequel but it was never the right time. And then it happened. Michael Keaton reveals that he wasn’t expecting the film to be so emotional and to have so much heart.

Finally, Jenna Ortega describes the beauty of imperfections in the making of the film and how the film can connect to the younger generations, as the first one did with the “Burtonian” adults of today.

The post “Beetlejuice Beetlejuice”, interview with director Tim Burton and actors Michael Keaton and Jenna Ortega appeared first on Fred Film Radio.

At the 81th Venice Film Festival, Fred Film Radio interviewed Alessandro Cassigoli and Casey Kauffman, directors of “Vittoria”, a movie presented in the Orizzonti Extra section. A story based on true events about a woman, Jasmine, who desires to adopt a baby girl.

After “Butterfly“ and “Californie“ directors Alessandro Cassigoli and Casey Kauffman return with a new documentary, “Vittoria”. But the starting point is always the same: Torre Annunziata. What is so powerful about this place? “It’s a question we often get, and it’s a question we often ask ourselves. ‘Why this place?’. We went to Torre Annunziata to make our first film, but we didn’t expect to make a film after that, okay? Now, years later, we have a trilogy. But it’s not like we decided to make all the films there. And we didn’t even make our decisions based on the themes of the film and the story itself, but it’s because of the people we met there”.

Also in “Vittoria” Alessandro Cassigoli and Casey Kauffman return to work with non-professional actors. Do they consider themselves neo-realist directors? “We come from spending 15 years doing documentaries before we started to do film. It’s our approach. I think it was a kind of natural evolution from documentary into this kind of cinema. And actually, that’s what we like. We like real people, we like to work with real people, we like to work with a small crew. These are all things that are part of the narrative, so it’s true that it’s not like a decision that was talked about before, but it’s natural for us”.

The film tells a story of adoption from a new point of view. The directors do not focus on the arrival of the child in a new family unit, but on what happens before, between waiting and bureaucracy. “When we heard Marilena- who’s Jasmine in the film – and her story, it had a big impact on us. We started researching immediately the films that exist on adoption. And the majority of them are either when the child arrives in the family and how it changes the dynamics or it could be an adopted child who tries to go in search of their cultural roots or their biological parents. We really couldn’t find much about the process that happened before. We didn’t know anything about this world, and so we had to learn a lot. But I think, on the bigger level, what really attracted us the most to the story wasn’t the adoption itself. It was the idea of one woman having an idea that wasn’t really logical. It was considered irrational by many people, and she was considered crazy by friends and family. But she had the desire to follow this instinct”.

The post “Vittoria”, interview with directors Alessandro Cassigoli and Casey Kauffman appeared first on Fred Film Radio.

Sigourney Weaver is the recipient of the Golden Lion for Lifetime Achievement at the 81st Venice Film Festival. Angelo Acerbi had a conversation with the actress of the “Alien” franchise, “Ghostbusters” and “Working Girl”, and many more, about the meaning of such an award and the job of being an actress.

Even if she is known for her science fiction roles, Sigourney Weaver managed to navigate all genres, from blockbusters to small indie movies. She tells how, and why. And talks about a movie she loves a lot, “Prayers For Bobby”.

Let’s find out from Sigourney Weaver‘s own voice how the ending fo “Ghostbusters” came from an unusual audition she did for the role she landed.

The post Sigourney Weaver, Golden Lion for Lifetime Achievement appeared first on Fred Film Radio.

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.

Whether you’re a film professional or an enthusiast, stay connected with the pulse of the Venice Production Bridge right here!

The post The Venice Production Bridge day in 4 minutes! appeared first on Fred Film Radio.

In a revealing interview, Deepak Rauniyar, the director of “Pooja, Sir,” discusses the intricate personal and social inspirations behind his film in the section Orizzonti, which is deeply rooted in his own experiences with discrimination in Nepal. Rauniyar describes “Pooja, Sir” as a “product of love,” referencing his previous work, “White Sun,” which tackled the aftermath of the civil war in Nepal. This new film continues this thematic exploration, delving into the lived experiences of marginalized communities and the urgent need for dignity and recognition.

Rauniyar shares that he intentionally set “Pooja, Sir” in the same locations where significant protests occurred during the political upheaval of history in 2007 and 2015.

During these demonstrations, hundreds of thousands of people took to the streets to demand federalism and equal rights, risking their lives for the basic necessities of dignity and justice. By anchoring his film in these real-life events, Deepak Rauniyar underscores the importance of storytelling in fostering empathy and understanding among different communities.

Collaboration plays a crucial role in Rauniyar‘s process. His partnership with Asha Magratti, who contributed significantly to the film, adds depth to the narrative. They come from different backgrounds, with Magratti identifying as part of a light-skinned community while Rauniyar aligns himself with populations that face discrimination. This difference enriches the storytelling, as they seek to convey a message that transcends their individual experiences. Rauniyar emphasizes that much of the film’s narrative is inspired by both their lives, showcasing how gender inequality and societal norms have impacted them personally and collectively.

One of the central themes of “Pooja, Sir” is the portrayal of women in Nepal. Rauniyar highlights how uneven representation in films and media often neglects the struggles that women face daily. He reflects on Asha’s encounters with gender disparity during her upbringing, noting how she was denied the same educational opportunities as her brother, who received preferential treatment. This dynamic mirrors broader societal views in Nepal, where gender roles are rigidly defined, often preventing women from realizing their potential.

Through the character of Asha, Rauniyar passionately depicts the challenges faced by women trying to navigate their identities and roles in a patriarchal society. Despite her aspirations to be viewed as a “son” following the loss of her brother, Asha was continually met with resistance and discrimination. Rauniyar notes that these struggles are not just individual stories; they reflect systemic issues deeply entrenched within their culture.

The filmmaker intricately weaves these themes into “Pooja, Sir,” showcasing a society where misunderstandings lead to discrimination. Rauniyar articulates the belief that people from more privileged communities often view marginalization through the lens of stereotypes and propaganda, failing to grasp the realities faced by others. He hopes that by engaging audiences with these narratives, they will develop empathy and reconsider their perceptions of marginalized groups.

To ensure authenticity in “Pooja, Sir,” Rauniyar dedicated significant time to research, conducting interviews over several years with various individuals, including police officers. This extensive groundwork informs the film’s representation of social issues, grounding it in the realities of lived experiences. While some elements of the film are fictionalized for narrative effect, Rauniyar insists that the heart of the story remains embedded in true events and personal histories.

In conclusion, Deepak Rauniyar frames “Pooja, Sir” as a cinematic endeavor that goes beyond mere storytelling; it’s an exploration of empathy, identity, and social justice. By giving voice to the disenfranchised and challenging societal norms, the film aims to resonate with audiences not just in Nepal but globally. Rauniyar’s vision is to use cinema as a transformative tool that can spark conversations about discrimination, equality, and the complexities of human experience. For those intrigued by these themes, “Pooja, Sir” promises to be a thought-provoking film that encourages viewers to reflect upon their own perceptions of identity and social justice.

The post “Pooja, Sir,” Interview with Director Deepak Rauniyar appeared first on Fred Film Radio.