15/18, par le réalisateur Cédric Kahn, se déroule dans une section psychiatrique pour adolescents. Le film était en Compétition officielle au Festival International de Venise 2026. La thématique de la santé mentale des jeunes est affrontée avec sincérité et humilité, en se concentrant sur la dimension humaine et collective.

Le thème principal de la conversation avec Cédric Khan est la dimension humaine et collective du film. Il nous explique son intérêt pour le milieu psychiatrique adolescent, notamment comment ce secteur fonctionne en groupe, avec des soignants et des jeunes issus de divers horizons. Il insiste sur la manière dont le scénario tente de rendre compte de cette interaction, tout en mettant en avant la démocratisation du soin et la diversité des personnages. L’aspect collectif et la façon dont chacun traverse cette étape difficile ont été fondamentaux pour lui, illustrant à quel point la psychiatrie concerne tout le monde, quand bien même elle reste encore un sujet tabou en France. La volonté étant aussi de briser ce silence, surtout au cinéma, où ce genre de sujet est peu traité, souvent par crainte d’un traitement peu commercial.

Cédric Kahn évoque la richesse des observations dans des services psychiatriques et la collecte de récits vrais d’enfants et d’adolescents. La base du récit s’est construite sur ces témoignages, ce qui a permis d’assurer une certaine authenticité dans le regard porté. La difficulté majeure a été d’obtenir l’autorisation d’accès aux services, un défi logistique et administratif. L’approche s’est voulue respectueuse et attentive, en évitant de porter un regard jugeant sur ces jeunes et leur famille, tout en restant fidèle à leur vécu.

Le casting et le travail avec les jeunes acteurs a été particulier.  Kahn a cherché chaque acteur individuellement, en fonction de leur capacité à incarner la complexité des personnages. Il précise que le groupe formé devait fonctionner comme un vrai groupe, avec beaucoup de paroles pour créer une dynamique crédible. La préparation a inclus de nombreux essais pour s’assurer de leur solidité, leur capacité à jouer des émotions fortes, et leur fidélité à la parole recueillie. Une fois la confiance établie, il leur a laissé une grande liberté pour incarner leurs rôles, ce qui a donné naissance à une fiction très documentée malgré le fait que ce soit une œuvre entièrement fictive.

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Presentato in concorso alla Mostra del Cinema di Venezia 2026, Ritorno a Buenos Aires racconta di Mariano Guerra che, dopo trentatré anni trascorsi in Italia, torna in Argentina per testimoniare al processo contro gli ex militari che lo sequestrarono, torturarono e resero schiavo durante la dittatura. Ospitato insieme ad altri sopravvissuti negli alloggi del Ministero della Giustizia in attesa della sua deposizione, Mariano è costretto a confrontarsi con ciò che significa essere rimasto vivo.

Il regista Marco Bechis, sopravvissuto lui stesso alla dittatura argentina, e l’attore protagonista Adriano Giannini raccontano il percorso che porta un sopravvissuto a diventare testimone, la scelta di non mostrare mai fino in fondo la violenza subita dal protagonista, e il lavoro fisico dietro la costruzione del personaggio.

Alla domanda sul perché abbia scelto di raccontare, in una storia di finzione, un’esperienza vicina alla propria, Bechis parte dalla propria condizione di sopravvissuto: “Sono sopravvissuto alla dittatura in Argentina. Questo fa di me un sopravvissuto che ha, come tutti i sopravvissuti, anche un senso di colpa per essere vivo mentre gli altri non ci sono più”. Descrive così il percorso del suo protagonista: “Il film racconta questo percorso che sembra così breve, ma che il personaggio di Mariano ci ha messo 30 anni a percorrere, che lo rende da sopravvissuto a testimone”.

Un percorso che lega direttamente all’urgenza contemporanea: “La coincidenza con l’attualità è assolutamente chiara: oggi, ai tempi nostri, c’è un enorme buco perché la quantità di sopravvissuti alle tragedie è enorme, ma nessuno riesce a essere testimone di fronte a un tribunale delle violenze subite, cosa che è legittimo immaginare, e non ci sono neanche i tribunali che possano condannare i colpevoli, che spesso sono dei capi di stato”.

Una riflessione che allarga a un più ampio senso di regressione: “È come se il mondo stesse implodendo in una specie di spirale, sia per l’ecatombe climatica, sia per questa specie di involuzione della difesa dei diritti individuali, per cui finiremo non so dove. È come se ci fosse una corrispondenza tra la crisi climatica e questa crisi sociale e di mancanza di diritti nei conflitti”.

Del film lo spettatore fa un’esperienza molto fisica, poiché la violenza subita dal protagonista non viene mai mostrata fino in fondo. Bechis spiega la scelta a partire dal potere dell’immaginazione: “L’immaginazione è personale, è come l’impronta digitale. Ognuno immagina a modo suo. Se tu splatteri la violenza nel cinema, tutti vedono la stessa cosa mentre mangiano i popcorn. Ma se invece io te la suggerisco, tu la devi immaginare e quella ti rimane dentro per molto più tempo”. Una violenza, aggiunge, che è quella che abita il protagonista stesso: “Ed è quella che è dentro Mariano”.

Alla domanda sul lavoro fisico fatto per portare in scena i segni di quell’esperienza, Adriano Giannini descrive un approccio istintivo, in linea con il metodo di lavoro del regista: “Mi piace molto partire dal corpo e non troppo dalla ragione nella costruzione dei personaggi. In questo caso a maggior ragione è stato questo lavoro perché Marco, nel suo metodo di lavoro, sfugge il troppo parlare, psicanalizzare, cercare di andare razionalmente a trovare delle cose dei personaggi, ma tende ad avere un approccio molto più istintivo e intuitivo”.

Racconta di aver trovato la chiave del personaggio osservando Bechis durante le visite ai luoghi di detenzione fatte prima delle riprese: “Ho capito che dovevo abbandonare qualsiasi forma di studio più razionale, ma cercare di incominciare a sentire quello che Marco sentiva, specialmente quando parlavamo e quando visitavamo dei posti di detenzione prima del film, ero attento a prenderli, a guardare attraverso i suoi occhi e i suoi ricordi per trovare la chiave del personaggio”. Un processo partito dal corpo, spiega, da cui è nato poi tutto il resto: “È stato il punto di ingresso del personaggio e poi dal corpo, dal fuori, dalla forma, dalle suggestioni che avevo, siamo andati a costruire poi altro”.

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Union Town by director Barbara Kopple, presented in Venice Open at the Venice Film Festival, powerfully revisits the ongoing struggles of organized labor in America, highlighting the persistence of workers’ rights issues despite decades of change. Director Barbara Kopple and producer Hannes Hosp discuss the relevance of the film in today’s socio-political climate and its potential to inspire global awareness.

Kopple reflects on her return to themes of labor activism after many years, comparing her new film to her earlier work on “Harlan County, USA”. She emphasizes that, although tactics have evolved, the core issues remain the same: fair pay, safe working conditions, and respect on the job. Kopple highlights how the film portrays the ongoing battle against union-busting strategies, which include significant financial investments and aggressive tactics aimed at silencing workers. She notes that the film captures scenes that confront viewers with the realities faced by workers today, showing that the fight for dignity at work continues.

Hannes Hosp explains that the decision to produce Union Town was driven by Kopple’s longstanding commitment to labor issues and the opportunity to shed light on current struggles. He shares that gaining access to workers was challenging, especially given the risks faced by those willing to speak out. Despite these obstacles, many workers, including undocumented individuals, chose to share their stories, motivated by a desire to push for change.

Kopple and Hosp see Union Town as more than just a film; they view it as a historical document that captures a pivotal moment in the labor movement. They highlight the potential of cinema, especially documentary filmmaking, to shape public discourse and inspire activism, emphasizing that the enduring value of documentary cinema lies in its ability to record reality and motivate societal change.

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A Day in a Life of Joe: Chapter Phaedra by director Jacqueline Lentzou, presented in Orizzonti at the Venice Film Festival 2026, follows a seemingly ordinary day in the life of a 15-year-old boy in suburban Athens, gradually revealing deeper existential themes.

Jacqueline Lentzou discusses her latest film, A Day in a Life of Joe: Chapter Phaedra explaining that her film reflects her own way of experiencing life, caught between the tangible and the intangible. She describes her worldview as being inherently in-between, where the boundary between the real and the cosmic is blurred. Lentzou emphasizes that the universe, including the cosmic, is intertwined with everyday life, making the magical aspects of her film feel natural rather than fantastical. She highlights how the film’s narrative explores this interconnectedness, especially through the character of Joe, who often slips into dreamlike states that feel more real than reality itself.

The director’s inspiration for portraying the dreamlike and mystical elements of the film stems from her personal meditation practices. She believes that inner worlds contain a richness and authenticity often overlooked in conventional storytelling. Her experiences with meditation have shown her that what we perceive as dreams or surreal moments can sometimes be more truthful than waking life. This perspective led her to craft a narrative where dreams and reality coexist, questioning what is truly real and emphasizing the importance of inner experience.

Lentzou shares that the film was partly inspired by a tragic event in Athens in 2008, when a 15-year-old boy was killed. She wanted to portray a day in the life of a young person unaware of their impending death, emphasizing the innocence and vulnerability of youth.

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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.

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What Belongs to Others by director Grzegorz Dębowski, presented in Orizzonti at the Venice Film Festival 2026, explores a few days in the life of Kasia, a woman involved in break-ins, and delves into themes of loneliness, human connection, and deception.

Director Grzegorz Dębowski explains that the film begins with a tense, crime-driven atmosphere but gradually shifts focus toward more personal and spiritual themes. Inspired by Korean filmmakers known for genre mixing, Dębowski keeps viewers engaged while gradually revealing deeper aspects of human relationships. The narrative centers on Kasia’s complex emotional world, which unfolds through her interactions during these few days. Producer Agnieszka Skalska adds that her initial connection to the script stemmed from its compelling storytelling and the empathy she felt for Kasia. She emphasizes that the film’s rhythm aligns with Kasia’s character development, making her growth feel authentic and compelling.

Dębowski reflects on the intriguing idea that Kasia’s lies about her identity serve as a pathway to emotional honesty. He notes that modern society often involves people pretending or hiding aspects of themselves to be accepted, which inspired the film’s exploration of deception. Kasia’s ability to forge connections through her falsehoods reveals a paradox: sometimes, fiction or lies can uncover deeper truths about human needs for love and belonging.

Skalska highlights that her support for the project was rooted in the script’s strong social commentary, particularly about urban loneliness and the hidden lives within homes. The film was written with a specific actress in mind, Monika Sabina Kwiatkowska, whose presence adds a layer of inspiration to the project. What Belongs to Others challenges audiences’ perceptions of morality and connection, making it a timely reflection on contemporary society.

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Dio ride diretto da Giovanni Veronesi, con Pierfrancesco Favino, Silvio Orlando, Alma Noce, Francesco Gheghi, Maurizio Lombardi e Paolo Rossi, ha chiuso la Mostra del cinema di Venezia 2026. Per il regista toscano il film rappresenta un cambiamento rispetto alle sue opere precedenti, passando da una commedia più leggera a un racconto che affronta la comicità come qualcosa di molto serio.

Il film, nelle sale italiane dal 29 ottobre con Piper, indaga su come la fede non si limiti alla religione, ma si manifesti anche nella fiducia nel prossimo e nella capacità di aiutarsi reciprocamente. La fede, secondo il regista, si declina in molte forme e i personaggi di Dio ride sono agli antipodi, rappresentando due facce di una stessa medaglia. Favino, nei panni del protagonista frate Leopoldo, sottolinea come il suo personaggio abbia bisogno degli altri per esprimersi, evidenziando l’importanza dell’interazione tra attore e pubblico.

Favino riflette sulla complessità di far ridere, sottolineando che la comicità richiede tempi perfetti e una sincera illuminazione interiore. La risata, spiega, “è un mistero che non si può prevedere né spiegare completamente, e spesso dipende da un momento di naturalezza e spontaneità”. Orlando aggiunge che anche “la recitazione è un mistero, che si svela solo quando si riesce a mantenere un equilibrio tra dono naturale e studio”. La sfida più grande per gli attori è riuscire a far emergere la comicità senza forzature, aspettando il momento giusto in cui la risata si manifesta spontaneamente, anche in un set che può sembrare artificiale.

Dio ride invita a riflettere sulla fede e sulla capacità di trovare umanità e speranza anche nelle situazioni più complesse. Il film è un esempio di come il cinema possa esplorare temi profondi con leggerezza e autenticità, lasciando allo spettatore il compito di interpretare i messaggi nascosti tra le righe della commedia e del dramma.

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Jupiter, de Alexandre Smia et avec Denis Menochet et Reda Kateb, était partie du programme du Festival de Venise, édition 83. On a rencontré réalisateur et acteurs  pour donner un regard approfondi sur le contexte et la conception du film.

Le premier thème principal concerne l’approche de la fiction dans le contexte de crises réelles comme la crise ukrainienne. Alexandre Smia explique que son but était de croiser l’histoire contemporaine avec la fiction, afin de rendre la réalité plus tangible et de proposer une réflexion sur la dissuasion nucléaire. Attiré par l’héritage du cinéma américain des années 70, il cherche à confronter le présent à la fiction pour donner un éclairage nouveau sur des enjeux géopolitiques cruciales. La manière dont il injecte la fiction dans la réalité permet d’amener le spectateur à s’interroger sur la profondeur de ces enjeux, tout en conservant leur côté paradoxal.

La construction du personnage du président: Denis Menochet affirme avoir créé un personnage fort, décisionnel, et dont la psychologie est essentielle à l’intrigue. L’aspect particulier du jeu réside dans l’écoute, la gestion du silence et la tension qui augmente au fil du film. Menochet s’est concentré sur l’intensité de la performance face à une mise en scène qui privilégie l’immersion. La proximité avec le personnage, notamment à travers un jeu en gros plan, accentue cette immersion et permet d’intensifier la tension dramatique.

Le décor unique d’un lieu confiné, comme dans d’autres films de huis clos tels que “Margin Call” ou “Point limite” de Lumet, sert à amplifier l’effet dramatique. La mise en scène repose sur une utilisation très précise de chaque mouvement de caméra, chaque élément est signifiant. Cet endroit restreint devient un espace de réflexion cinématographique, où chaque détail contribue à maintenir une tension constante. L’atmosphère étroite et la concentration des personnages incarnent parfaitement la gravité de la situation et la mise en scène immersive.

Alexandre Smia évoque enfin la pertinence du film face à l’évolution de la situation géopolitique internationale. Selon lui, le cinéma peut anticiper ou prévenir certaines prises de conscience, notamment en décortiquant les mécanismes paradoxaux de la dissuasion nucléaire. Il cite le film de Lumet  comme un exemple de cette capacité à représenter l’escalade et l’effroi potentiel. La vision du réalisateur met en lumière l’importance de réfléchir sérieusement à ces enjeux, même si la peur ne doit pas être un but en soi. Cet entretien témoigne de l’ambition du film Jupiter d’être une œuvre prophétique autant qu’un exercice de réflexion dramatique.

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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.

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Le film Peau d’homme, présenté hors compétition dans le programme de Giornate Degli Autori, se distingue par sa capacité à mêler des thèmes profonds tels que l’émancipation, le genre et la perception de soi, tout en adoptant une esthétique légère et colorée. La réalisatrice Léa Domenach et les acteurs Claire Pommet et Stefan Crépon nous parlent d’une œuvre qui, tout en abordant des enjeux universels, reste accessible et divertissante, grâce à une narration mêlant musique, danse et comédie.

L’histoire de Peau d’homme tourne autour d’une princesse, incarnée par Claire Pommet, qui reçoit une peau d’homme pour mieux connaître son futur mari. Ce dispositif narratif sert de prétexte à une réflexion sur la différence entre masculin et féminin, mais aussi sur la manière dont la société perçoit ces identités. La réalisatrice insiste sur le fait que le choix de la légèreté n’est pas une faiblesse, mais une stratégie pour faire passer des messages importants sans alourdir le spectateur. Elle souhaite que le film soit une bulle de couleurs et de musique, permettant à des thèmes sérieux d’être abordés sous un angle nouveau.

Le casting a été soigneusement sélectionné pour renforcer cette idée de transformation. Léa Domenach a voulu que le personnage masculin, Melchior, soit joué par un acteur qui exprime clairement son désir pour les hommes, afin d’éviter toute ambiguïté. La transformation physique du personnage principal, qui doit incarner à la fois un homme et une femme, a nécessité un travail précis avec une coach, ainsi qu’une mise en scène minutieuse pour assurer une cohérence visuelle. La direction artistique a ainsi joué sur la ressemblance entre les deux personnages, avec des plans qui se répondent, renforçant l’effet de miroir générationnel et de métamorphose.

Les acteurs principaux, Claire Pommet et Stefan Crépon, ont également travaillé en amont pour incarner cette dualité. La méthode de Claire a consisté à créer un journal intime pour son personnage, en le condivisant avec Stefan pour lui permettre de s’immerger dans son rôle sur plusieurs mois. Leur préparation a été complétée par des exercices de gestuelle et de déplacement, pour que la transition entre les deux identités soit fluide et graduelle. La complicité entre eux a permis de donner vie à cette relation complexe, où chaque étape de la transformation est palpable à l’écran.

Le film ne se limite pas à ses aspects dramatiques ou identitaires. La partie musicale occupe une place centrale, avec des chansons modernes et mélodiques, interprétées par les acteurs eux-mêmes. Léa Domenach a voulu que la musique soit intégrée à la narration, avec une équipe de chanteurs-acteurs capables d’assurer la justesse et la modernité des morceaux. La collaboration avec Bryce Dessner pour le score instrumental a permis d’unifier l’ensemble, créant une atmosphère à la fois légère et intense.

Les scènes de comédie, notamment celles avec Catherine Deneuve ou Karine Viard, apportent un contrepoint humoristique à la gravité du propos. La réalisatrice a su tirer parti de la générosité et de l’humour de ces grands noms du cinéma pour donner au film une dimension encore plus vivante et accessible. La confiance instaurée dès le départ a permis aux acteurs de se lâcher, notamment lors de scènes où l’exagération et la jeu intense étaient de mise. “Peau d’homme” se distingue ainsi par sa capacité à conjuguer légèreté, humour et réflexion. La réalisatrice a voulu faire un film qui, tout en divertissant, invite à une réflexion sur la construction de l’identité et la perception du genre. Un film à la fois sensible et joyeux, qui laisse une empreinte durable par sa sincérité et sa créativité.

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