En competición en la 83ª Mostra de Venecia 2026, Bunker cuenta la historia de Miguel, un premiado arquitecto que acepta un proyecto moralmente ambiguo (construir un búnker de supervivencia para un multimillonario tecnológico), mientras su esposa Sofía empieza a cuestionar su relación tras 17 años juntos. Tras haberse mudado a Londres en busca del sueño de Miguel de convertirse en un arquitecto reconocido, la pareja se ve obligada a confrontar si aún comparten las mismas aspiraciones, valores y visión de futuro. El director Florian Zeller, junto a los protagonistas Javier Bardem y Penélope Cruz, hablan sobre el deseo de escribir la película para ellos, la larga historia de colaboración entre los dos actores, y el reconocimiento profesional y personal que se tienen el uno al otro.

Preguntado por cómo surgió esta colaboración, Zeller explica que fue al revés: la historia nació del deseo de trabajar con Bardem y Cruz. En una respuesta traducida del inglés, cuenta: “La historia nació del deseo de trabajar con ellos. Todo lo que he escrito en mi vida ha sido siempre para un actor o una actriz, ese es mi proceso. Llevo años siendo un gran fan de su trabajo, por separado: creo que Penélope es la mejor, creo que Javier es el mejor, y eso es de verdad lo que pienso”.

Bardem y Cruz cuentan que ya han trabajado juntos entre seis y siete veces, la primera hace más de treinta años, y que nunca han forzado esa colaboración: solo la han buscado cuando el proyecto, el personaje y el director tenían sentido. Bardem describe lo que sintió al recibir el guion de Zeller: “Sí, es exactamente eso, el hecho de sentir que cuando te llega el texto, el material es un material muy rico, muy sensible, muy inteligente, muy sutil como Florian, al cual admiramos como director de teatro, como escritor y como director de cine. Y entonces el hecho de pensar, de saber que había escrito esos personajes para nosotros nos daba muchísima responsabilidad y al mismo tiempo un gran deseo de saber si podíamos realmente ayudar a contar esa historia”. Y añade que fue al conocer a Zeller cuando sintieron confianza en el proyecto: “Y cuando le conocimos a él y vimos que esa sensibilidad y ese gran corazón que tiene era lo que primaba en la historia y hacia donde va la historia, pues nos sentimos en casa, nos sentimos muy protegidos”.

Preguntados sobre cómo ven la carrera del otro, Bardem describe la de Cruz partiendo de sus inicios: “La carrera de Penélope es una carrera hecha, en primer lugar, desde la fe y la apuesta absoluta en su intuición, puesto que a diferencia de la mía, en su familia no había referencias que se dedicaran al cine o al teatro, al mundo de la actuación”. Y añade: “Es una mujer muy valiosa en muchísimas cosas y creo que ha demostrado cómo ha ido creciendo sin miedo como actriz en cada proyecto y exponiéndose más ella, y al mismo tiempo de una manera muy hermosa, muy verídica, muy honesta y muy atractiva de ver, de contemplar, de celebrar. Eso no se tiene, eso no se aprende, eso se tiene o no se tiene. Y ella lo tiene”. Cruz, por su parte, cuenta que lo vio actuar por primera vez antes de coincidir con él en Jamón, jamón: “Yo había visto Las edades de Lulú a una edad en la que no me tocaba verla, por supuesto. Y dije: mira este chico que aparece ahí unos 2 minutos, si llega… 5 minutos, y dije: ¿quién es y quién es esa presencia y esa fuerza?”. Del rodaje de aquella primera película juntos recuerda: “Cuando le vi trabajando en los primeros días de Jamón, jamón, la verdad es que era alucinante de ver, pero no es ya la combinación de técnica, frescura y verdad”. Y describe el mensaje que le dejó al verlo en Mar adentro: “Recuerdo el mensaje que le dejé cuando vi Mar adentro, que estaba llorando y temblando porque estaba tan orgullosa de él de lo que había hecho”.

The post “Bunker”, entrevista con el director Florian Zeller y los actores Javier Bardem y Penélope Cruz appeared first on Fred Film Radio.

Until the Day Ends, presented in Orizzonti at the Venice Film Festival, is set against the backdrop of student protests and political divisions in contemporary Serbia. Director Jelena Maksimović’s film explores themes of youth, political activism, and personal transformation.

Maksimović explaines that her personal experiences heavily influenced the film, blending real-life memories with fictional elements to create a vivid portrayal of youth in Serbia. She aimed to depict the complexities of adolescence and the desire for freedom amid political unrest, emphasizing that her approach was to fictionalize her experiences rather than produce a documentary. The film’s narrative reflects her interest in capturing the emotional truth of a generation caught between tradition and change.

Until the Day Ends focuses on the love story between Lena and Stefan that serves as a lens to examine societal divides. Maksimović highlightes that the characters represent contrasting social backgrounds and political beliefs, one involved in anti-government protests, the other from a more privileged, conservative environment. She wanted to show how relationships and solidarity can challenge preconceptions and open new horizons for young people. Andrija Krivokapić shares that his character Stefan reflects the circumstances many young men face, shaped by environment and social pressures. He revealed that his own background in Belgrade influenced his portrayal, and that working on the film helped him understand his character’s motivations more deeply.

Maksimović emphasizes that the shift from scenes of urban conflict to open natural landscapes creates a space for reflection and the possibility of escape, both physical and political. This transition is reinforced by the film’s visual language, which moves toward more expansive compositions and a slower pace, evoking a growing sense of hope and possibility.

The post “Until the Day Ends”, interview with director Jelena Maksimović and actor Andrija Krivokapić appeared first on Fred Film Radio.

During the Venice Film Festival 2026 we spoke with director Anuparna Roy and actress Neelima Sharma for the film Lovers in the Blue Night, which was presented in the Orizzonti section of the Festival. The directors returns to Venice after winning the Best Director Prize in the Orizzonti section last year, with the film Song of the Forgotten Trees. Continuing the exploration of the themes of migration, identity, and desire in her new feature as well, this time through the stories of four characters navigating life in a rapidly changing India.

During our interview on FRED Film Radio, director Anuparna Roy explains that her new film Lovers in the Blue Night marks a thematic evolution from her previous work, focusing on the internal and external journeys of her characters. While her earlier film was indeed set within the confines of a cramped Mumbai apartment, this new work takes viewers into the bustling city streets, following multiple characters in transit and emphasizing that migration is a political act, driven by the desire for dignity and personal freedom

Director Anuparna Roy also agrees that her latest film shares a thematic link with her previous project, Songs of Forgotten Trees, by examining the city and migration, describing the characters here as seeking to live authentically, fighting against societal constraints to find their own space and identity. For her, portraying these personal battles was more important than depicting the city as a mere backdrop.

Neelima Sharma added reflecting on her character, who in Lovers in the Blue Night embodies the universal human craving for love and acceptance. She shares that her own experience of living in Mumbai for three years resonated deeply with her role, as she, like her character, is still searching for her place. Anuparna Roy added that the film explores the daring to desire, especially for working-class characters who are often denied the same rights to love and self-expression as others, highlighting that her own background influenced her storytelling as well, aiming to portray the characters’ inner struggles with empathy and authenticity.

The post “Lovers in the Blue Night”, interview with director Anuparna Roy and actress Neelima Sharma appeared first on Fred Film Radio.

During the Venice Film Festival 2026 we spoke with director Yonfan, a filmmaker renowned for his aesthetic approach to cinema, discussing his latest project Intermission, which was presented in the Venice Spotlight – Out of Competition section of the Festival. The film, which is a reflection on the passage of time and on the love for cinema, marks a significant moment in his career as he explores the concept of an artistic pause.

During our interview on FRED Film Radio, Yonfan explains that the idea of beauty in his films has shifted over the years, adapting to changing trends and personal sensibilities. In Intermission, he deliberately incorporates old footage from over four decades ago, blending it with contemporary visuals to breathe new life into the past. His goal is indeed to make these images feel modern and vibrant, emphasizing that beauty is a dynamic concept that evolves with time and context. Yonfan also reflects on his career as an independent filmmaker, emphasizing that maintaining creative freedom often requires a simple lifestyle. While some of his productions have been large-scale, others are more modest, yet all benefit from his ability to work without external pressure: he considers his independence a gift, allowing him to pursue projects driven solely by his artistic vision, even if it means facing challenges along the way.

For Yonfan, Intermission is ultimately  is a heartfelt love letter to the medium, celebrating its power to inspire and transform. His passion for cinema shines through, as he emphasizes that this intermission is not an end, but a meaningful pause filled with gratitude and reflection.

The post “Intermission”, interview with director Yonfan appeared first on Fred Film Radio.

Agata The writer, by Kuba Dorabialski was presented in competition at Giornate degli Autori in Venice. We met with director , lead actress Mia Wasikowska and producer Alex White to talk about the creative process and the meaning of this film for them.

Kuba Dorabialski points out that the initial idea of looking at how a story is told,  in a very intimate way between audience and writer was kind of the starting point.  Cinema always speaks to a group of people, but he always was interested in intimacy, intimacy of a novel and how the writer can speak to one person. The other thing was kind of specific:  it’s about Bosnia and why about a writer dealing with the Bosnian War in the 90s,  largely because of what’s happening in the world now, because of the imperialist wars: how does an artist engage with political trauma.

Kuba’s video art practice was always  very narrative and story based which is a little bit different than classical video art; he always felt like he needed to make that jump out of the gallery into the cinema where you can kind of dictate the beginning and ending of your communication with an audience- “Agata the Writer” it’s kind of the final step of a process.  Rules for cinema are  slightly more strict than the freedom you have in video art. It’s kind of nice to have the edges defined for you, which means that then you can kind of explore a bit more within them rather than having a completely open-ended field It’s nice to have some boundaries around that.

Mia Wasikowska praises Kuba because like her character was really beautifully written from the beginning and it sort of made her job easier. She just had to turn up and embody her for a period of time. It’s funny because she never felt like she was trying to do anything really. The process of acting is kind of funny, and for her it’s not like particularly intellectual, so I just, I don’t know what I’m doing ever. I just like turn up and  hope that it works out.

This was something the director  always really loved and identified with, even more so from his mum’s experience because she was a Polish migrant coming to Australia when she was in her early teens. So, he feels like he really understood this sort of question of belonging.  This was something he could understand and, and empathise with and really like exploring because he feels it is very viscerally embedded in his own family and in himself.

The post “Agata The Writer”, interview with director Kuba Dorabialski, actress Mia Wasikowska and producer Alex White appeared first on Fred Film Radio.

Une femme d’aujourd’hui est le dernier film de Robert Guediguian, présenté au Festival de Venise 2026, dans le programme des 23. Giornate Degli Autori.  On a rencontré le réalisateur et les actrices Marilou Aussilloux et Ariane Ascaride pour parler de la  réflexion profonde que l’on trouve dans ce film sur la société contemporaine.

Robert Guediguian, réalisateur et scénariste, explique que ses films se concentrent toujours sur l’observation du monde contemporain. Il évoque la nécessité d’aborder les conflits qui semblent secondaires dans le discours dominant, comme ceux entre différentes communautés ou classes sociales. Selon lui, ces luttes méritent une attention particulière car elles sont essentielles pour reconstruire le tissu social et politique. Il insiste sur le fait que ne pas résoudre ces tensions mène à une impasse, où seul le capitalisme globalisé semble en sortie victorieuse. Cette réflexion nourrit la dimension politique du film, en particulier à travers le personnage de Marie-Lou, qui croit à tort que son monde est parfait avant que la violence ne la frappe brutalement. Le film montre ainsi un virage dramatique qui oblige le personnage à reconsidérer ses priorités et sa vision du monde.

Le processus d’interprétation du personnage de Juliette par Marilou Aussilloux est très interessant. Elle explique comment a géré la transition entre une vie lumineuse et la violence qui va tout remettre en question.  Le costume et la mise en scène l’aidaient à incarner cette dualité, passant d’un état de liberté à une phase de reconstruction intérieure après une agression. La reconstruction, avec ses crises et ses moments d’espoir, représente un véritable défi pour elle, en tant qu’interprète, d’autant qu’on ne tournait pas toujours dans l’ordre chronologique. La compréhension de ce processus l’a amenée à aborder la complexité de la réparation psychologique et physique, soulignant la difficulté de guérir du trauma tout en restant fidèle à l’état intérieur du personnage.

Le film parle aussi de la nécessité collective de changement face aux défis actuels. Ariane Ascaride, qui joue la mère de Juliette, évoque le rôle délicat des parents face à un enfant victime de trauma, et la difficulté de suivre l’évolution de leurs enfants dans un contexte de transformation sociale. La conversation s’étend également sur la perte de repères dans le monde actuel, où la vérité semble éclater au grand jour, sans filtres ni limites. Robert Guediguian évoque la citation de Gramsci sur la période de transition où émergent les monstres, une métaphore des crises contemporaines que nous vivons globalement. L’intérêt du film, selon lui, réside dans sa capacité à montrer que le cinéma peut participer à cette réflexion collective, en sensibilisant aux injustices et en incitant à l’empathie. La conclusion souligne que la force du film réside dans sa représentation de la difficulté à reconstruire un monde commun, et la nécessité d’œuvrer ensemble pour un avenir plus juste.

The post “Une Femme d’aujourd’hui”, interview avec le réalisateur Robert Guediguian et les actrices Marilou Aussilloux et Ariane Ascaride appeared first on Fred Film Radio.

The Soup of The Day il programma quotidiano di FRED Film Radio che ti porta ogni giorno nel cuore della Mostra del Cinema di Venezia 2026 direttamente dal Lido.

Condotto da Federico Spoletti e Angela Prudenzi e con Chiara Nicoletti, Angelo Acerbi, Cristiana Palmieri, Gianluca De Angelis e Bianca Ferrari ogni giorno approfondimenti sui film di questa edizione, i commenti ai titoli in Concorso, Orizzonti, Fuori Concorso – Venice Open e Spotlight, così come delle sezioni parallele e indipendenti di Giornate degli Autori e Settimana Internazionale della Critica, con tanti ospiti del mondo del cinema, critici, interviste esclusive e curiosità dietro le quinte.

Ascolta The Soup of the Day e ogni giorno riceverai tutti gli aggiornamenti e le novità dal Lido, vivendo così la Mostra a 360 gradi!

The post The Soup of the Day – Film e curiosità dalla Mostra del Cinema di Venezia 2026 – 11 settembre appeared first on Fred Film Radio.

During the Venice Film Festival 2026 we spoke with the director Gábor Reisz, actor Ádám Tompa, discussing their film Ground Floor, which was presented here in the Spotlight Section of the Festival. The film explores themes of societal apathy and personal transformation within a Hungarian residential building, with a broader metaphor and character development in order to reflect broader political and social issues.

During our interview on FRED Film Radio, director Gábor Reisz explains how Ground Floor element of the black mould is a central issue, but was not conceived as a metaphor from the start originating from a real-life conversation about representing Hungarian society instead. The mould became a powerful symbol of invasion and decay, embodying the invasive nature of societal issues, emphasizing also how the film’s development was rooted in a desire to portray the Hungarian residential environment and its residents authentically.

Actor Ádám Tompa describes his Ground Floor character Kristóf as someone who withdraws from active participation, a trait that he believes is common in Hungary’s society over the past decades. He notes that Kristóf’s personal journey mirrors Hungary’s political evolution, where many citizens have remained silent or passive amid changes. The actor suggests that apathy can be more dangerous than ideological conflict because it allows issues to fester unnoticed, a theme that the film explores as a form of societal initiation into citizenship and democratic responsibility. With the political shift during production prompting a shift in the film’s tone as well, and introducing a glimmer of optimism, both Reisz and Tompa believe that Ground Floor’s core messages about societal participation and civic awareness remain relevant universally, regardless of Hungary’s specific political situation.

The post “Ground Floor”, interview with director Gábor Reisz and actor Ádám Tompa appeared first on Fred Film Radio.

In competition for the Golden Lion at the Venice Film Festival 2026, Naza, shot at night on the rooftops of Tel Aviv, is built from the testimony of twenty-four Israeli intelligence officers and soldiers describing their part in what the film’s own synopsis calls Israel’s calculated mass killing of Palestinian civilians in Gaza.

Directors Yuval Abraham and Rachel Szor previously co-directed the Oscar-winning documentary No Other Land, about the West Bank community of Masafer Yatta, together with Basel and Hamdan Ballal, their Palestinian co-directors.Here, they talk about persuading soldiers to speak, the range of guilt and detachment among their subjects, and why they insist that what the film documents is not an accident but a system.

How hard was it to get twenty-four intelligence officers and soldiers to describe, in his words, “their participation in this genocide of Israel on the Palestinian people”?. Abraham pushes back gently on the framing of persuasion itself: “In the world of investigative journalism, I’m not sure I would use the word convincing. It’s more about you want to approach people to ask the question, and you build a kind of connection with someone, or you build trust over time. It’s a process”.

Their willingness to talk, he says, varied widely: “For some of them it was easier to say yes. Some of them felt a certain sense that they have committed a crime, and they want to talk about it and to share it with more Israelis, with people all over the world. Others it was harder for them to say yes”. What mattered most, he adds, was the specificity of the questions: “The question that interested us from the very start is to get them to describe in as much detail as possible this system of killing, and how it looked like. What tools did they use? […] Sometimes when you ask, and when you are persistent, then you find the answers”.

Asked how the film handles the different degrees of guilt on display among its subjects, Szor says that was never the primary focus: “There’s many different levels of guilt, or awareness, or really a range of emotions that you can see from those officers and soldiers. I must say that when we made the film, it was less of our interest — the main thing that we’re interested in is describing the system, the mass killing system”. The psychology of participation, she says, is still present in the film, and connects directly to the choice of also showing ordinary life at home: “I think we point most of the time our look to people watching TV, mainstream media in Israel, not reporting the result, or using this language of a terror attack”. For Szor, the underlying question stayed the same throughout: “Those were the questions that we were more asking ourselves: how is this system operating?”.

Asked whether the attention around No Other Land, from Berlin to the Oscars, made this film easier or harder to make, Abraham describes a hope that went largely unanswered: “We had real hope that the film No Other Land , that won the Oscar and is about a community called Masafer Yatta in the West Bank, all of us also with Basel and Hamdan Ballal, our Palestinian co-directors, we really hoped the film would have an impact on the ground, and unfortunately it did not have a major impact. Just this week, two villages in that community were completely destroyed by the Israeli military occupation”.

That same attention, he says, is part of why they made a second film at all: “We won the Oscar and we made a lot of connections, and in that sense I think that is part of why we wanted to make another film, because we have a certain power now because of the first film, we knew people might pay more attention to the second film that we make. So we thought that this is the most important topic to discuss: what is happening in Gaza”. A spotlight, he concludes, that carries its own weight: “You have a spotlight sometimes on you, and that can come with certain complications, and at the same time it comes with a certain responsibility to speak and to do”.

Szor returns to two points the directors had already stressed at the press conference: that what the film documents is still happening, and that it is systemic. “It was important for us to say that it’s still ongoing, it’s not some sort of reflection. And I think generally also in No Other Land, we were interested in the system, not in some sort of a crime that a soldier is doing”. She gives a concrete example from the film itself: “When looking at how they were doing the bombing in Gaza, we see that the system is built to bomb civilian houses. It was important for us to show that this is not something that happens by accident, but it’s a policy and a system”.

The post “Naza”, interview with directors Yuval Abraham and Rachel Szor appeared first on Fred Film Radio.

The Soup of The Day il programma quotidiano di FRED Film Radio che ti porta ogni giorno nel cuore della Mostra del Cinema di Venezia 2026 direttamente dal Lido.

Condotto da Federico Spoletti e Angela Prudenzi ogni giorno approfondimenti sui film di questa edizione, i commenti ai titoli in Concorso, Orizzonti, Fuori Concorso – Venice Open e Spotlight, così come delle sezioni parallele e indipendenti di Giornate degli Autori e Settimana Internazionale della Critica, con tanti ospiti del mondo del cinema, critici, interviste esclusive e curiosità dietro le quinte.

Ascolta The Soup of the Day e ogni giorno riceverai tutti gli aggiornamenti e le novità dal Lido, vivendo così la Mostra a 360 gradi!

The post The Soup of the Day – Film e curiosità dalla Mostra del Cinema di Venezia 2026 – 10 settembre appeared first on Fred Film Radio.