In the context of the 1st Venice Production Bridge Location Market, the Head of International Relations at PFFP, Annie Galstyan, discusses the efforts of the Pan-Armenian Federation of Film Producers to increase Armenia’s presence in the global film industry. She highlights the federation’s role in connecting Armenian cinema with international markets and co-production opportunities. This interview offers insight into Armenia’s ambitions to break its cinematic isolation and develop a more active role on the international stage.

Galstyan explains that the PFFP was created to serve as a link between Armenia’s film industry and the global community. She emphasizes that Armenia’s diaspora, which is larger than the population within the country, plays a crucial role in fostering international collaborations. The federation aims to promote Armenian cinema abroad and attract international crews to shoot in Armenia, helping to showcase the country’s diverse landscapes and cost-effective production environment.

Galstyan notes that Armenia has yet to see its films regularly featured at major international festivals since gaining independence in 1991. She believes that with strategic efforts and better presentation, Armenian cinema can gain recognition. She also points out that Armenia’s local cinemas remain vibrant, with audiences eager to watch both domestic and international films, including Hollywood blockbusters and European independent movies.

Galstyan details how Armenia’s film infrastructure is well developed, with suitable locations, permits, and a skilled crew base. She mentions that the PFFP’s new structure, Cinema Alliance, simplifies the process for international filmmakers to access everything needed for production, from visas to equipment. Although the country’s film commission is still developing, she stresses that Armenia offers significant cost advantages, making it an attractive destination for international shoots, even without cash rebate incentives. She also shares that ongoing meetings at the Venice Production Bridge Location Market have already generated interest from producers looking to shoot in Armenia, with plans to develop further collaborations after the festival.

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During the Venice Film Festival 2026 we spoke with director Michelle Zhou, talking about her new movie Big Little Things, presented here in the Orizzonti section of the festival. Diving into her personal inspiration, cultural background, and the thematic depth of the film, and exploring silence, protection, and the complexities of family and identity.

During our interview on FRED Film Radio, Big Little Things director Michelle Zhou explains that the film’s central theme is silence seen as a form of violence. She describes indeed how, in her community, maintaining silence was a way to preserve harmony during conflicts or personal disputes, confirming a cultural tendency that influenced her portrayal of characters who choose silence to shield loved ones from painful truths, especially in the context of a same-sex relationship still sensitive in China.

A significant aspect of Big Little Things is indeed its autobiographical dimension, which Michelle Zhou incorporated by casting her girlfriend’s father, who experienced the real-life conflict that inspired the story. She recounts a poignant moment during filming when him improvised a heartfelt line in a key scene, revealing his genuine emotions and the generational gap between him and the younger characters.

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Au cours du dernier festival de Venise, le film Un bon avocat de Tristan Séguéla a attiré l’attention par son rythme intense et sa narration à plusieurs niveaux. Ce long métrage mêle habilement les codes du film d’action, du thriller judiciaire, du buddy movie et même de la comédie sentimentale, créant ainsi une œuvre à la fois déconcertante et captivante. In en parle avec le réalisateur et la star du film, Laurent Lafitte.

Tristan Séguéla explique que son objectif por Un bon avocat était de plonger le spectateur dans une semaine cruciale de la vie d’un avocat pénaliste, dont la propre défense devient le défi ultime. La narration s’articule autour d’un rythme effréné, visant à faire perdre haleine, avec une intensité qui ne faiblit pas. Le film s’ouvre sur un avocat en pleine crise, confronté à une échéance décisive: il doit défendre sa propre carrière lors d’une audience cruciale, alors qu’il passe habituellement sa vie à défendre les autres. La mise en scène privilégie une tension constante, renforcée par un montage rapide et une direction d’acteur qui accentue la complexité psychologique des personnages. Laurent Lafitte, qui incarne le protagoniste, évoque une figure en chute libre, mais résistant à chaque étape, s’accrochant à la moindre chance de s’en sortir. Son personnage est à la fois vulnérable et arrogant, ce qui rend sa psychologie particulièrement riche et ambiguë.

Le personnage secondaire, un stagiaire joué par Anthony Bajon, incarne une figure de miroir pour le héros, représentant à la fois une aide et une perte d’illusion. Laurent Lafitte souligne que cette relation est essentielle pour comprendre la trajectoire du personnage principal, qui lutte pour sa survie dans un contexte où ses propres choix l’ont mené à un point de non-retour. La narration ne se limite pas à une simple course contre la montre : elle dévoile aussi la profondeur de l’âme humaine, ses failles et ses contradictions.

Le film aborde des thèmes universels tels que la dépendance, la culpabilité et la quête de rédemption, tout en restant ancré dans une réalité sombre et concrète. La lutte du héros contre ses démons personnels, notamment son addiction à la cocaïne, se mêle à ses combats professionnels et personnels, créant une tension permanente. La narration, riche en rebondissements, maintient le spectateur sur le fil, oscillant entre espoir et désespoir. La complexité du personnage principal, à la fois sympathique et antipathique, invite à une réflexion sur la nature humaine et la difficulté de se relever face à ses propres erreurs. “Un bon avocat” se distingue par sa capacité à mêler un rythme trépidant à une profonde exploration psychologique, offrant une expérience cinématographique à la fois divertissante et introspective. La maîtrise de Tristan Séguela, associée à la performance de Laurent Lafitte, fait de ce film une œuvre marquante du festival, qui ne laisse personne indifférent.

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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.

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Wim Wenders and Peter Zumthor, the acclaimed filmmaker and architect respectively, are the subjects of the documentary From Inside Out: the architecture of Peter Zumthor, which was premiered at the Venice International Film Festival. This interview explores the long journey of creating this film, which chronicles Zumthor’s architectural process and artistic philosophy over a span of fourteen years.

The long-term process of making From Inside Out: the architecture of Peter Zumthor was a central theme. Wim Wenders explained how the film started as a brief commission for the architectural biennale in 2012 and grew into a fourteen-year endeavor. The project involved following the construction of two major buildings, in Los Angeles and Basel, from inception to completion. Wenders emphasized how external factors like pandemics, political issues, and financing hurdles extended the timeline, demonstrating how architecture and filmmaking can be deeply interconnected in the artistic process. The patience and persistence involved in documenting these works revealed the intricate relationship between architecture and time in the creation of a film about Zumthor.

This was another key focus. Zumthor described his approach as deeply rooted in the emotional and empathetic immersion into each project. He highlighted the importance of understanding the place and history behind a building, emphasizing that his work is an artistic process based on empathy rather than just intellectual analysis. He shared how his sensitivity to the site and his own biography influence his architectural choices, aiming to craft buildings that tell a meaningful story and carry a good history. The concept of a perfect building was discussed as one that feels right at the end, with details aligning perfectly, making the effort worthwhile despite the years of development.

Wenders reflected on the societal and personal changes that have influenced his filmmaking, noting how shared experiences, like growing up near the Rhine River, shape their artistic visions. Zumthor’s process remains committed to an artistic and emotional understanding of each project, illustrating how personal biography and cultural context inform their work. Both creators acknowledged that their ongoing engagement with their crafts continues to be driven by a shared desire to create meaningful art that resonates deeply with audiences and users alike.

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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.

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Ahmed Badawi, general manager of Egypt Film Commission, discusses the country’s emerging role in international film production and its participation in the first Venice Production Bridge Location Market. As part of the Egyptian Media Production City, the commission has been actively promoting Egypt as a versatile filming destination since its establishment in 2020. This interview highlights Egypt’s efforts to attract international projects and its strategic initiatives to support filmmakers worldwide.

The Egypt Film Commission is a relatively new entity, created to facilitate international productions in Egypt. It operates within the larger framework of the Egyptian Media Production City, a vast complex equipped with state-of-the-art sound stages, backlots representing different regions, and advanced post-production facilities. Since 2020, Badawi explains, the commission has supported over 160 projects, ranging from Hollywood blockbusters to Indian productions, demonstrating its ambition to become a global hub for filmmaking. Its presence at the Venice Production Bridge Location Market signals Egypt’s intent to forge new international partnerships and showcase its diverse locations and resources.

The Egypt Film Commission emphasizes its openness to a wide spectrum of projects, from small documentaries to large-scale productions. It offers various incentives, including a cash-back of up to 30% for services rendered within the Media Production City and a forthcoming cash rebate system starting at 20%. The commission also simplifies permit approvals and customs clearance, ensuring a smooth process for international filmmakers. Badawi notes that Egypt’s support extends beyond big studio productions, actively welcoming independent films and African projects, which are often overlooked by traditional film hubs. This inclusive approach aims to diversify Egypt’s film industry and attract a broader range of creative voices.

During the Venice Production Bridge, the Egypt Film Commission has held numerous meetings, with promising discussions underway for projects from India and the United States.

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Dear Ajayi, presented in Giornate degli Autori at the Venice Film Festival, is a Nigerian family drama that explores the complex dynamics between two sisters in southwestern Nigeria during the 1990s. Director Damilola Orimogunje delves into themes of tradition, independence, and personal  growth, using his unique storytelling style to reflect societal tensions and family bonds.

Orimogunje explains that his film serves as a mirror to Nigerian society, illustrating the contrasting ways women respond to cultural expectations. He emphasizes that the characters of Ade and Titi symbolize different approaches, one rooted in duty and faith, the other in artistic expression and independence. The director depicts these women with nuance, avoiding stereotypes, and encouraging to observe rather than judge their choices. Dear Ajayi is an observational piece that invites understanding of the societal pressures shaping Ade and Titi characters.

A central motif in Dear Ajayi is the contrasting roles of faith and music in the sisters’ lives. Orimogunje highlights that the film explores how religion functions as a source of hope and stability, while music becomes a form of silent rebellion and emotional expression. He notes that the character Titi’s singing acts as a voice for her inner struggles, revealing her unspoken needs. The director reflects on how art, whether through music or other forms, can serve as a vital outlet for identity and escape, especially in restrictive environments.

Dear Ajayi discusses his deliberate choice to focus on domestic spaces, making the home a character in its own right. He explains that the visual language was designed to foster a sense of stillness and intimacy, to portray the inner world of the Ajayi family. Bimbo Akintola explains how her mother’s approach to deal with family’s needs and dynamics inspired her preparation for the role of Ade, while Tosin Adeyemi talks about her deep connection with music and singing.

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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.

London,  presented in the Venice Critics Week programme, is directed by Victor De Marco and Marcio Picoli and Victor is also the lead star of the film. The film was awarded, ex-aequo, with the Queer Lion Award. We talked about the concept of the film and its production, which was long and bumpy.

Marcio Picoli says that it was  not complicated for them because they’ve been working together for like 10 years, so it’s like a long-term collaboration. They are very confident and have a strong relationship. They prepared thoroughly before the set, which made filming easier. They discussed every scene, every shot, to ensure being always on the same page. This continuity between them is crucial for the film’s authenticity and emotional depth. Our relationship has helped us craft a compelling performance and storytelling.

London lays on a very powerful narrative about independence and self-identity. The film explores the life of Victor, a disabled young man who is a sex worker in a fetish house, who faces a crucial decision about whether to accept a diagnosis that could confine him or reject it to preserve his freedom. This character’s construction and the plot development challenge viewers to rethink ideas around labels, identity, and societal perceptions. The film’s portrayal of Victor is groundbreaking because it shows his independence and vitality, which are often understated in cinema about disability.

The film also delves into the concept of desire and the body, which is particularly provocative through the lens of disability. The directors argue that desire is a fundamental human need, regardless of physical abilities. They aim to challenge stereotypes by presenting a character who is both desirable and brave, emphasizing that desire is natural and valid. London highlights that desire should not be stigmatized or marginalized based on physical condition. Instead, it should be embraced as a vital aspect of being human, which in turn can shift societal views and personal perceptions. This message resonates profoundly, especially in a social context where labels and societal bubbles often restrict authentic understanding of bodies and desires.

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