At the 76th Berlinale, with the European Shooting stars programme, the European Film Promotion brings ten promising, versatile European acting newcomers to the festival each year. The goal is to help them make a name for themselves with the international press and audience and to build a network in the international film industry.

The actors take part in a tailor-made programme featuring high-profile press activities and curated meetings with international casting directors, talent agents and producers. The European Shooting Stars presentation at the Berlinale introduces the actors to an international audience of leading industry professionals.

The European Shooting Stars 2026 are: Fatlume Bunjaku (Albania), Lucas Englander (Austria), Violet Braeckman (Belgium), Salif Cissé (France), Enno Trebs (Germany), Danielle Galligan (Ireland), Tecla Insolia (Italy), Joes Brauers (The Netherlands), Sofia Tjelta Sydness (Norway) and Cleo Diára (Portugal).

Fatlume Bunjaku is the star chosen to represent Albania in the programme.

Fatlume Bunjaku is a Kosovan-Albanian actress who blends her creative flair on-screen, with a meaningful academic background – and even a career in music. She began in 2013 and her talent was recognized instantaneously, winning the Best Actress award at the Nine Eleven Film Festival, leading to a host of impressive credits, culminating with an impressive turn in Hana (2025). Off screen she remains committed in sharing her wisdom with the next generation, having obtained a master’s degree in 2020, she specialized in children’s theatre, made accessible to those with special needs, while also working as a lecturer in the performing arts.

The post Fatlume Bunjaku, interview with the European Shooting Star 2026 from Albania appeared first on Fred Film Radio.

Presented ad the 76th Berlinale, “Allegro Pastell” offers a compelling look at modern relationships and the emotional landscape of today. The film, focused on characters seeking sentimental freedom, shows how nostalgia functions in a fast-paced, socially complex world. With the director Anna Roller and one of the lead actors Syl Faligant we explored the film’s narrative, characters, and stylistic choices, offering insights into its layered storytelling and thematic depth.

The film intricately explores the characters’ emotional journeys, emphasizing a nuanced portrayal of love. From the outset, viewers are introduced to characters who are initially unlikable but gradually reveal their vulnerabilities and humanity. The film declares that love is often complicated by inner conflicts, societal expectations, and personal fears. “Allegro Pastell” invites audiences to recognize the beauty and pain in imperfect relationships, highlighting that true love involves vulnerability and honesty. The movie’s focus on these emotional intricacies aligns with its broader commentary on modern relationships and the longing for authentic connection.

A standout aspect of “Allegro Pastell” is its treatment of nostalgia, particularly how characters in their 30s grapple with feelings of longing for a past era. The film cleverly examines the concept that nostalgia is not limited to the elderly but can permeate youthful generations, especially those who feel attached to a privileged lifestyle or a bygone time. It depicts nostalgia as a philosophical phenomenon, suggesting it often serves as a protest against the ephemeral nature of youth and societal change. Contextually, the film situates its story before significant global shifts, like the pandemic, to underline how recent pasts are idealized and how this affects characters’ perceptions of their present lives.

The use of voiceover in “Allegro Pastell” is a carefully considered stylistic device that enhances storytelling without detracting from immersion. Instead of traditional dialogue, inner monologues and emails serve as the primary communication methods, underlining emotional reflection and control. The voiceover acts as a bridge between characters’ inner worlds and the audience, creating a sense of proximity. Its conceptual deployment allows viewers to delve into characters’ internal conflicts and understand their motivations more intimately. This approach underscores the film’s themes of secrecy, projection, and self-awareness, making it a thoughtful exploration of contemporary love stories and generation identity.

In summary, “Allegro Pastell” masterfully intertwines themes of love, nostalgia, and emotional introspection. Its portrayal of characters seeking sentimental freedom resonates universally;  the core of human experience—love and longing—transcends age and societal boundaries. The film’s stylistic choices, especially the nuanced use of voiceover and correspondence, deepen its emotional impact. “Allegro Pastell” exemplifies how modern cinema can explore complex inner worlds while reflecting on broader cultural and generational issues.

The post “Allegro Pastel”, interview with director Anna Roller and actor Syl Faligant appeared first on Fred Film Radio.

Presented at the 76th Berlinale, “Everybody Digs Bill Evans” by Grant Gee brings to life the complex personality behind the legendary jazz pianist. It navigates into Evans’ disciplined artistry juxtaposed with his chaotic personal life, offering viewers a nuanced portrait of a man whose music continues to influence generations. The film highlights the enigmatic nature of Evans, when his story is as much about mystery as it is about mastery.

“Everybody Digs Bill Evans” is a film that captures the essence of its subject through innovative cinematic techniques. The director’s stylistic choices—including daring framing and jazzy editing—mirror the improvisational spirit of jazz itself. The filmmaker aimed to evoke the fluidity and spontaneity of Evans’ music, creating a visual language that reflects his artistry. This approach lets audiences connect deeply with his character, underlining both the order and chaos that defined his life.

The film explores the profound contradictions within Bill Evans—from his admirable sense of discipline to his struggles with addiction. Anders Danielsen Lie notes that Evans’ relationship with his substance use was nuanced; it was not driven by self-destruction but a form of neglect and disinterest in his own welfare. The project enriches viewers’ appreciation for Evans’ artistry, portraying him as a mysterious but deeply authentic individual. Ultimately, “Everybody Digs Bill Evans” invites audiences to experience the layered world of this legendary jazz musician, reaffirming that the film’s appeal lies in celebrating his enduring influence.

The post “Everybody Digs Bill Evans”, interview with director Grant Gee and actor Anders Danielsen Lie appeared first on Fred Film Radio.

Captivating stories and powerful visuals come together in the film “Paradise”, an emotional journey presented at the 76th Berlinale that explores themes of trust, betrayal, and escapism. Throughout its creation, the director Jérémy Comte spent over a decade bringing this compelling story to life, drawing from personal experiences and cultural connections to craft a film that resonates deeply with audiences.

The film delves into the lives of two young men from vastly different backgrounds—one in Ghana and the other in Canada—yet bound by shared feelings of isolation and longing. The title “Paradise” is layered with meaning, symbolizing both the elusive ideal they seek and the contrasting perceptions of their worlds. As Jérémy Comte explains, the characters’ pursuit of escapism—whether through love, religion, or other means—reflects a universal desire to find solace amid hardship. The film’s portrayal of paradise as an aspirational concept highlights its significance as a refuge from pain and uncertainty.

Visually, “Paradise” employs a range of effects designed to mirror the characters’ emotional landscapes. The director emphasizes the use of visual effects to evoke the spectrum of feelings faced by the protagonists, from moments of clarity to ambiguity. These effects serve to enhance the narrative by creating a textured, immersive experience that aligns with the film’s themes of inner turmoil and hope. By blending real-world imagery with subtle visual modifications, the film invites viewers to navigate the fragile boundaries between reality and perception.

The success of “Paradise” is also attributed to its casting and direction. The two young actors, Daniel in Ghana and Joey in Quebec, deliver authentic and relatable performances, thanks to extensive rehearsals and a collaborative approach. Jérémy Comte’s focus on truthfulness and emotional depth ensures that each character’s journey feels genuine and compelling. The film’s nuanced storytelling, combined with intentional visual choices, reinforces the universal quest for paradise and the resilience of the human spirit.

The post “Paradise”, interview with director Jérémy Comte appeared first on Fred Film Radio.

“Filipiñana” delves into the intricate layers of Philippine society. The film, directed by Rafael Manuel, uses stylistic choices and thematic depth to explore social divides, structural violence, and the invisible struggles.

The term “Filipiñana” refers to the rich tapestry of Philippine culture, history, and identity. In Rafael Manuel’s film, the word serves as a key to understanding the country’s ongoing issues of class division and structural inequality. The film’s visuals and narrative artfully reveal how beauty and perfection can mask deeper societal conflicts, especially through the lens of a golf course set against communities facing water shortages. The use of precise framing and symmetrical compositions emphasizes the stark contrast between opulence and poverty, reinforcing the film’s message about hidden violence.

The film reveals the often overlooked world of a tee-girl, a job unique to the Philippines that symbolizes the class divide. The film highlights how these girls serve the wealthy on golf courses, sitting immobilized for hours while their environment reflects a stark disparity. Manuel’s choice to focus on this specific aspect of “Filipiñana” underscores how cultural practices and societal roles encapsulate larger structural issues. The film invites viewers to consider how these invisible social dynamics define identities and perpetuate inequality.

The film is characterized by its minimalist narrative and striking visual style, which Rafael Manuel deliberately employs to reflect the themes of stasis and structural violence. The use of symmetrical framing and still camera shots creates a cold, detached atmosphere that mirrors the emotional distance within the social strata depicted. Manuel explains that these choices are about form as much as style: beauty is used to evoke violence, and stillness emphasizes the stagnation faced by the marginalized.

Rafael Manuel also intentionally eschews conventional action-driven storytelling, instead drawing inspiration from music structures like verses and choruses. This approach encourages audiences to engage with the film’s subtle movements and textures, paralleling the quiet resilience and irony often found in Filipino humor. The languid pace and restrained storytelling accentuate the social commentary, illustrating how even small actions within this silent world can hold significant ripple effects. “Filipiñana” ’s style underscores the idea that, sometimes, the most profound truths lie in stillness and minimalism.

The post “Filipiñana”, interview with director Rafael Manuel appeared first on Fred Film Radio.

“The lights, they fall”, by director Saša Vajda delicately portrays the complexities of youth, mortality, and cultural diversity through a deeply personal lens. Screening at the Berlinale in the Generation 14 plus section, the film invites viewers to reflect on universal themes seen from multiple angles.

“The lights, they fall” explores the emotional journey of 16-year-old Ilay during a summer in Berlin, as he navigates the delicate situation of his mother receiving palliative care. The film by director Saša Vajda delve into themes of loss, friendship, and societal support. He emphasizes that the film’s core stems from personal experience, inspired by her own mother’s passing nearly a decade ago. This personal connection lends authenticity and depth to the narrative’s portrayal of end-of-life care and teenage emotional resilience.

The film also highlights the multifaceted realities faced by immigrant families and the social dynamics surrounding grief and support in Berlin’s diverse community. Vajda’s approach is intuitive, choosing to cast a diverse group of non-professional actors to authentically represent the societal tapestry. The storytelling incorporates multiple perspectives, creating a layered, comprehensive picture of life’s fragility. “The lights, they fall” subtly addresses how different societal and socioeconomic factors influence the experience of loss and coping.

The film’s deliberate use of pacing, with long summer days and moments of silence, allows audiences to fully inhabit Ilay’s world. Saša Vajda describes this rhythmic choice as intentional, aiming to evoke contemplation and deepen emotional engagement. The relaxed pace mirrors the natural flow of youth and grief, emphasizing a sense of patience and presence throughout the story. This contemplative rhythm aligns with the film’s thematic focus on life’s slow moments and the importance of silent understanding.

The post “The lights, they fall”, interview with director Saša Vajda appeared first on Fred Film Radio.

Unveiling the historical depths of Chile’s military coup through gripping storytelling, “The Red Hangar” is a poignant film that resonates with contemporary themes. As a film that confronts the past to shed light on present issues, it offers a compelling look into the chaos and moral ambiguity experienced during Chile’s turbulent September 1973.

“The Red Hangar” stands out as an essential film for its unflinching portrayal of a dark chapter in history. Set during the military coup in Santiago, the film explores the transformation of a military academy into a detention and torture center, highlighting the disturbing obedience demanded by authoritarian regimes. Through its intense narrative, Juan Pablo Sallato‘s film invites viewers to reflect on how power structures impact individual morality and societal obedience. Its vivid depiction of those charged with enforcing oppressive orders makes it a vital cinematic commentary on historical and ongoing struggles with tyranny. The film’s focus on character and system dynamics underscores its relevance in today’s world. By portraying a protagonist caught within the machinery of oppression, the film explores internal conflicts faced by individuals living under authoritarian rule.

The choice to shoot “The Red Hangar” in black and white emphasizes its ties to history while enhancing the film’s emotional depth. The director, Juan Pablo Sallato, explains that this decision mirrors the chiaroscuro of moral gray areas faced by characters, symbolizing shadows within human nature and the ambiguous nature of obedience and resistance. The film’s visual style, combined with its tense storytelling , captures the urgency of the characters’ moral dilemmas. “The Red Hangar “ masterfully uses its historical setting to dialogue with present-day conversations about power, making the film a powerful reminder of the importance of confronting uncomfortable truths from the past.

The post “The Red Hangar”, interview with director Juan Pablo Sallato appeared first on Fred Film Radio.

Dal 10 febbraio, solo su Netflix, è arrivata Motorvalley, serie Netflix prodotta da Groenlandia  (società del gruppo Banijay) con il sostegno della Regione Emilia-Romagna, con protagonisti Luca Argentero, Giulia Michelini e Caterina Forza.

A 10 anni di distanza da “Veloce come il vento“, Matteo Rovere, produttore e regista insieme a Pippo Mezzapesa e Lyda Patitucci, tornato sui circuiti automobilistici, questa volta per un racconto seriale che usa le stesse ambientazioni per una storia che più che di riscatto, parla di seconde possibilità.

Creata dallo stesso Rovere con Francesca Manieri e Gianluca Bernardini e scritta insieme agli autori Michela Straniero e Erika Z. Galli, “Motorvalley” racconta come tre persone che hanno perso già tutto nella vita, apparentemente, poi possano trovarsi uniti nella stessa voglia di rinascita.

Luca Argentero interpreta Arturo Benini, un uomo che vive in modalità stand by, avendo messo da parte la sua vita e il suo passato di pilota, per il trauma di una perdita importante. Giulia Michelini è Elena Dionisi, una donna che, al contrario di Arturo, affronta le difficoltà di petto e fa di tutto per rialzarsi e rimettersi in pista, creando una sua scuderia per onorare l’eredità del padre da poco scomparso, figura portante nel mondo dei motori e delle corse.

Infine Caterina Forza è Blu, il punto di congiunzione, la più giovane dina famiglia-scuderia che si viene a formare, quando, uscita di prigione, viene notata per il talento e la caparbietà proprio da Elena.

“Motorvalley” è una serie che omaggia le famiglie che scegliamo lungo il cammino, quelle non per forza dettate dal sangue ma in cui ci si può rifugiare e in cui si può contare.

“Il talento senza legami è solo una fiammata” scrive il creatore Gianluca Bernardini nelle sue note di sceneggiatura. Una frase che definisce quanto “Motorvalley“, nel raccontare la storia di tre outsider votati al riscatto, metta in evidenza come, per poter veramente rialzarsi e guadagnarsela a pieno una seconda possibilità, sia fondamentale avere qualcuno accanto che creda in te e ti aiuti a crescere.

Lo confermano Luca Argentero, Giulia Michelini e Caterina Forza descrivendo come il legame tra i loro tre personaggi sia la base per la crescita personale e il successo nella rinascita di ognuno.

“Motorvalley” è una serie che riflette anche sul rapporto con i genitori, nello specifico con i padri, sui padri assenti, quelli mai conosciuti, da non deludere e di cui seguire le orme, i padri, forse, putativi. Il riferimento a Million dollar baby, nel caso del percorso della Blu di Caterina Forza, costretta a confrontarsi con una madre non sempre virtuosa, è lampante.

Nel caso dei personaggi di Argentero e Michelini c’è un’inevitabile quanto doveroso sguardo al passato per venirci a patti, farci i conti per poter “vincere” nel futuro.

The post “Motorvalley”, intervista agli attori Luca Argentero, Giulia Michelini e Caterina Forza appeared first on Fred Film Radio.

Starting February 13, 2026, Prime Video will release the new Italian Prime Original film, shot in English and based on the first hit novel of the “Love Me, Love Me” tetralogy by Stefania S. (over 23 million reads on the Wattpad platform).

The film, directed by Roger Kumble will see actors Mia Jenkins, Pepe Barroso Silva and Luca Melucci bringing to life the beloved characters of the book and their complicated relationship.

“What is it about them? Friends, enemies, lovers. Their story is about to begin”. This is the logline of the film that promise to bring the famous triangle on screen.

Not just a love story or a complicated love triangle, Love Me Love Me is also, and above all, a film about friendship, and about how hard it is to find your way through relationships with other people and with your peers, especially during adolescence. “Love Me, Love Me” is also the story of a bromance: a deep bond between two boys and their search for the best way to honor that friendship, despite each one’s individual path.

“Love Me, Love Me” also stands out as a reflection of Gen Z, capturing the nuances of modern youth experiences. It addresses issues like social media influence, dating, and the quest for authentic self-expression. The characters’ struggles and aspirations mirror the challenges faced by many young people today, making Love me Love me a relatable and timely narrative. Through its authentic portrayals, the film underscores the importance of staying true to oneself while navigating a rapidly changing world.

The actors talk about how the film represents their generation but also how it represents the struggles every teenager has had to face, despite the generations. Ultimately, “Love Me, Love Me” me is a touching tribute to love, friendship, and self-discovery that resonates across generations.

The post “Love me, Love Me”, interview with actors Mia Jenkins, Pepe Barroso Silva and Luca Melucci appeared first on Fred Film Radio.

Presentato in anteprima alla 18esima Festa del cinema di Roma, esce nelle sale con il 16, 17 e 18 febbraio con Fandango Distribuzione “Andando dove non so. Mauro Pagani, una vita da fuggiasco”. Un documentario sulla vita e sulla carriera del polistrumentista e compositore italiano che la regista Cristiana Mainardi definisce «un racconto di memoria collettiva, di testimonianza artistica e umana». 

Nel film ci sono le testimonianze di colleghi e amici di Pagani: Manuel Agnelli, Giuliano Sangiorgi, Marco Mengoni, Badara Seck, Mahmood, Dori Ghezzi, Ligabue, Arisa, Ornella Vanoni e la compagna di vita e lavoro Silvia Posa.

«Facendo il film ho capito quante cose avessi fatto nella mia vita – racconta Pagani – Grazie a questi grandi compagni di viaggio, ho avuto modo di osservare anche delle cose che pensavo fossero marginali». «Il messaggio più grande che lancia Mauro è la contaminazione, la libertà, la possibilità di sperimentare, di studiare continuamente. La sua generazione ci ha insegnato che le cose vanno fatte, senza aspettare che gli altri le facciano per noi», dice Agnelli.

The post “Andando dove non so”, intervista alla regista Cristiana Mainardi e ai protagonisti Mauro Pagani e Manuel Agnelli appeared first on Fred Film Radio.