FRED Film Radio - English Channel

Listy-Letters from the Silenced Country by director Andrei Kutsila,presented at Venice Film Festival, explores the realities of contemporary Belarus through personal letters from those who have experienced repression, imprisonment, and exile. The project is included in Venice Open and sheds light on a country where freedom of expression remains severely restricted.

The significance of “Listy-Letters from the Silenced Country” in portraying Belarusian life

Kutsila emphasizes that his own forced exile following the 2020 protests deeply influenced his desire to tell stories from Belarus. With many friends still inside the country facing imprisonment or hiding, he felt a moral obligation to give voice to those silenced by the regime. The film’s focus on letters allows for an intimate glimpse into the lives of political prisoners and exiles, offering a deeper understanding beyond conventional reporting.

Using letters to access personal stories

Kutsila explains that letters serve as a bridge to the private worlds of individuals living under authoritarian rule. Unlike news reports or human rights documentation, letters reveal emotional depth and personal perspectives. He spent years exploring innovative ways to present these letters visually, aiming to preserve their intimacy while making them accessible on screen. He believes that this approach allows viewers to engage with the stories on a human level, fostering empathy and awareness about Belarus’s ongoing struggles.

The perspective of Andrei Astapovich,real-life protagonist

A key element of  Listy-Letters from the Silenced Countryis the inclusion of Andrei Astapovich, a former Belarusian investigator who defected and sought asylum in Poland. Kutsila underscores how vital it was to incorporate a voice from inside the system, someone who chose to break away rather than conform. Developing Andrei ’s story involved years of close collaboration, during which Kutsila learned about the moral dilemmas faced by insiders. He sees Andrei’s example as a testament to the possibility of individual resistance, even in the most oppressive circumstances.

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Guria, by director Levan Koguashvili, presented in Venice Spotlight at Venice Film Festival, is a black-and-white tragicomic story set in Western Georgia during the tumultuous period following the collapse of the Soviet Union. Director Levan Koguashviliand producer Boris Frumindiscuss how the film captures a complex era through a blend of humor and seriousness, emphasizing authenticity and human relationships.

The cultural and historical context behind “Guria”

Koguashvili explains that the inspiration came from real stories he heard from people living in Georgia during the 1990s. He wanted to portray that decade not just as a time of hardship, but also as a period filled with warmth, irony, and human resilience. Koguashvili emphasizes the importance of recording life in Georgia as it truly was, respecting the reality of his country and its people, rather than resorting to fictionalized or exaggerated depictions. Frumin adds that their goal was to represent the everyday struggles and moments of joy that defined that era, offering an authentic window into Georgian life during a turbulent time.

Balancing tragedy and comedy in “Guria”

Koguashvili and Frumin reveal that their approach to storytelling was heavily influenced by Italian neorealism, which combines elements of tragedy and comedy. They believe that cinema should reflect the full spectrum of human experience, especially in difficult times. In Guria, humor is a vital tool to explore survival and human connection without diminishing the seriousness of the characters’ struggles. Koguashvili notes that the film’s mix of comedy and tragedy aims to offer a nuanced perspective on Georgian society, emphasizing the resilience and kindness of its people.

The importance of real human relationships in “Guria”

A key aspect ofGuria is its focus on genuine human interactions. Koguashvili and Frumin point out that the film’s strength lies in its ability to bring to life the everyday decency and warmth of Georgian society, making the audience connect emotionally with the characters’ journeys. Through this authentic depiction, Guria reminds viewers of the enduring human spirit amid hardship.

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I Matter by director Alina Şerban,presented in Venice Spotlight at the Venice Film Festival, explores the life of Rebecca, a Roma girl growing up within Romania’s child protection system, drawing on Şerban’sown experiences. Alina Şerbanand Carla Fotea, the film’s producer, discuss the complex process of transforming lived realities into compelling cinema that aims to foster understanding and challenge stereotypes.

The personal journey behind “I Matter”

Şerban explains that her childhood was initially privileged before she experienced life within a Roma community and a children’s home, which profoundly shaped her perspective. She emphasizes that her goal was not to tell only her story but to incorporate the voices of others she worked with, including young people from orphanages. Her research involved creating short documentaries and theatre pieces to better understand what her younger self needed to hear, ultimately weaving these insights into the film’s fabric. Şerban highlights that I Matter is a multi-layered narrative, built from diverse perspectives, to enrich its emotional depth and authenticity.

Navigating cultural representation and unlearning discrimination

Şerban discusses the importance of self-awareness in storytelling, especially when it involves marginalized communities. She reflects on her own process of unlearning stereotypes and shame associated with her Roma identity, which she previously internalized due to harmful portrayals in media. Her wants to present a humanized image of Romani people, moving away from exoticized stereotypes and instead offering a nuanced portrayal that allows for multiple identities within Roma culture.

The collaborative and ethical approach to production

Fotea shares that the production process spanned over four years, during which the team closely collaborated with young people from Romania’s child protection system. The team grappled with questions of cultural appropriation and the ethics of storytelling, ultimately supporting Şerban’s vision while respecting the community’s voice.

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Too Much Sugar, by Robert Greene, included in the Orizzonti selection, is a documentary with a peculiar story behind it. We had a chat with the director to know more about it and about his lead character.

A documentary in a collaborative form

Robert Greene explains that the collaborative form  is one he’s been followed and developed  over several films. It started with an encounter with Ryan  and an idea  and one of the best titles he ever heard.  6 kids, 5 different women, in and out of prison since when he was a kid. There was a lot there that needed to be told. So we really wanted to dive in and that’s how we started. And actually, Ryan on screen is a huge persona, he’s interesting, it’s fascinating, is um strong and also kind of very touching.

The rebirth of a man

Robert knows what Ryan is. He’s a guy who went to prison for getting into fights. Most people just write him off. They both come  from similar backgrounds. Robert Greene knows a lot of guys like Ryan. When you meet him, you know, you just know there’s like this kindness and this willingness to try to keep moving forward and be better, especially if there’s a camera present. The camera could sort of make him feel like a hero but also make him understand mistakes that he’s made. It could do both things at once. I think that was, that was what we needed to happen.

The need to become a good man and a good father

Ryan has to be a better father because he didn’t have a father. So he’s like he’s projecting on, on his kids and in his life.  Robert Green knows form personale experience that when you grow up without a father one ends  up making that the focus of your life.  Real fatherhood is making space for other people. And it took a while for Ryan to learn that. The film that has also a kind of therapeutical aspect because on the story of  Ryan’s best friend, AccRite. He lost his kid by murder and  it was Ryan to convince him to use the media of cinema to heal.

Working with non actors

Robert Green knows how much non actors want to do good. in this case though he thinks they’re all really compelling on camera and some of them are quite good actors. The most important thing is to understand that this is coming from a place of dreams. This is coming from a working class family who is using movies and thinking about movies like their dreams. They’re thinking about movies like movies represent a way to have a different life. And so when one understands that, seeing them deliver comedic lines that were written for them,  there’s a yearning in that and a fun in that, that is more preferable than some method acting.

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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.

The enduring fight for workers’ rights in “Union Town”

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.

The making of “Union Town” and its political significance

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.

The power of documentary cinema to influence society

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 Phaedraby 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.

The transition from the ordinary to the cosmic in “A Day in a Life of Joe: Chapter Phaedra”

Jacqueline Lentzoudiscusses her latest film, A Day in a Life of Joe: Chapter Phaedraexplaining 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 influence of meditation and inner worlds on Lentzou’s storytelling

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.

A Day in a Life of Joe: Chapter Phaedra and its connection to real events

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 inOrizzonti at the Venice Film Festival, is set against the backdrop of student protests and political divisions in contemporary Serbia. Director Jelena Maksimović’sfilm explores themes of youth, political activism, and personal transformation.

The autobiographical roots of “Until the Day Ends”

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.

Exploring political resistance and youth activism through personal relationships

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.

“Until the Day Ends”‘s visual language

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.

Using genre conventions to explore intimacy

Director Grzegorz Dębowskiexplains 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 Skalskaadds 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.

The paradox of deception and emotional truth in What Belongs to Others

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.

The character of Kasia and the film’s social roots

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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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.

The interview

During our interview on FRED Film Radio, director Anuparna Roy explains that her new film Lovers in the Blue Nightmarks 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 Nightembodies 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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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.

The interview

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.
Another crucial aspect of the film Big Little Things is its setting which happens during Lunar New Year: a time traditionally associated with family reunion and celebration, that is here used to explore the performative nature of family dynamics instead. Michelle Zhou indeed describes how the family dinner scenes are depicted as theatrical performances, where characters pretend to uphold harmony while hiding underlying tensions: this portrayal reflects the reality of many families, especially in Chinese culture, where questions about marriage and children are invasive and uncomfortable. By framing these gatherings as staged performances, Big Little Things reveals the pressure to maintain appearances and the personal sacrifices involved in family loyalty.

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Wim Wenders andPeter 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.

Main topics explored include the origins of the documentary project and its evolution over time

The long-term process of making From Inside Out: the architecture of Peter Zumthorwas 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.

Understanding Peter Zumthor’s creative process

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.

How creative approaches evolve over the years

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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The portrayal of women across generations in “Dear Ajayi”

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.

Religion and art as search for meaning

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.

Creating an intimate visual space

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 Akintolaexplains how her mother’s approach to deal with family’s needs and dynamics inspired her preparation for the role of Ade, while Tosin Adeyemitalks about her deep connection with music and singing.

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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.

The interview

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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Agata The writer, byKuba 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.

Two levels of interest in the creative process

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.

From video art to film

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.

Playing a beautifully written character is easy

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.

Roots and belonging to a place, a country

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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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.

Co-directing and acting at the same time was not a challenge

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.

Independence and self identity

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 concepts of body perception and desire

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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From the First Draft to the Finished Film

Presented in the Settimana Internazionale della Critica at the 83rd Venice Film Festival, Zoom In, Zoom Out is Dong Jie’s feature debut. The screenplay developed over five years, undergoing substantial changes along the way. One of the most significant transformations concerned the role of media and gaming. In the first draft, these elements were scattered throughout the story. In the finished film, they became central narrative devices, helping to shape the world inhabited by the protagonist.

The Meaning of the Title

The international title, Zoom In, Zoom Out, reflects the way people communicate through smartphones and the internet. Digital technology allows us to move closer to others, but it can also create distance.

The original Chinese title can be translated as “The Journey of Discovery.” It refers to the cyber magazine connected to the protagonist’s search for a missing man. At the same time, it describes his emotional journey: while trying to discover what happened to his friend, he gradually begins to understand himself and the world around him.

Searching Through the Virtual World

The film follows Shi as he tries to find out what happened to Gao, a missing friend whose fate remains uncertain. Unable to communicate openly with Gao’s girlfriend, Shi attempts to tell her that Gao may have died through a video game.The virtual world becomes a space where he can express thoughts and emotions that he cannot articulate in real life. What begins as an investigation gradually develops into a deeper exploration of grief, guilt and identity.

When Tragedy Becomes a Message

For Dong Jie, the story was not taken directly from a single real-life event. Instead, it was built from numerous small observations of contemporary life. A death or another devastating event can now be communicated through a short text message or a few impersonal words on a screen. At the same time, social media platforms can place images of war, loss or tragedy alongside jokes, memes and entertainment. This abrupt movement between extreme emotions became one of the film’s central subjects. The digital world does not necessarily make people feel less; rather, it changes the way they encounter and process what happens around them.

Performing Another Person’s Identity

Shi gradually begins to impersonate Gao, almost as if he were cosplaying his entire life. By assuming the missing man’s identity, he gains access to conversations and relationships that would otherwise remain closed to him. He is able to speak more freely with strangers, using Gao’s identity as a form of protection. Yet this performance also forces him to confront his own fears and feelings. The search for Gao therefore becomes a process of self-discovery. Shi is not only trying to understand the missing man’s story; he is also attempting to understand his own emotional isolation.

From Virtual Contact to Human Connection

Although the film initially explores a cold, mediated digital environment, it gradually moves towards a moment of genuine tenderness between strangers. At the end of the story, Shi speaks on Gao’s behalf to the wife of a delivery worker. This encounter creates a connection that is no longer based solely on online communication or role-playing.

For Dong Jie, this moment represents Shi’s emotional transformation. Having spent much of the film immersed in another person’s world, he finally begins to step outside himself.

Zooming Out

The title also describes the protagonist’s final movement. Shi spends the film zooming in on the life of a missing person, examining fragments of information in an attempt to reconstruct the truth. By the end, he is finally able to zoom out. He gains distance from the identity he has adopted and begins to look at his own life from a new perspective. The film’s conclusion therefore marks the possibility of a new beginning: not a complete escape from pain, but the first step towards reconnecting with reality and with other people.

A Portrait of Digital Disconnection

Combining gaming, social media and intimate human drama, Zoom In, Zoom Out portrays a generation accustomed to experiencing reality through screens. The film questions whether virtual spaces only separate people—or whether they can also become unexpected paths towards empathy. Through Shi’s journey, Dong Jie suggests that even a mediated encounter can eventually lead to a genuine emotional connection.

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In competition for the Golden Lion at the Venice International Film Festival 2026, Dau follows a Greek-born physicist drawn into Soviet state service and the creation of one of history’s deadliest weapons, tracing, in director Ilya Khrzhanovsky‘s words, the small compromises that shape a life and alter the course of history. The film is the culmination of more than twenty years of work, uniting footage shot fifteen years ago with recent scenes into a single project. Khrzhanovsky talks about the long wait behind the film’s completion, his idea of cinema as experience rather than distraction, the criticism the film’s presence in Venice has drawn over its funding and origins, and what he believes the film says about Russia today.

Twenty years in the making, and fifteen years of waiting

On how it feels to premiere the final chapter of a project two decades in the making, Khrzhanovsky describes conflicting emotions: “I feel a mixed feeling of excitement, of course, and of course I’m worried. I am worried because I’m really worried how the connection between the movie and audience and the time, and time for me it’s a special thing”. That concern with time, he explains, is why he let years pass before returning to the footage: “I consciously took almost 15 years of making after the shoot because I want to look to the things what we filmed through the time”. Despite long stretches when the project’s completion was in doubt, he says he never lost faith in it: “During this journey there were a lot of moments where it was not clear if it could be completed or not, but I always knew that it will. And I knew that it will even if other people didn’t believe that it will ever finish. But I am very happy that universe, God, and reality gave me the chance”.

Cinema as an experience, not a distraction

Asked how he reconciles a long, reflective film with an era of fast content consumption, Khrzhanovsky relativizes the comparison: “Everything is relative. And if we will think about operas, and some Italian operas, they’re much longer than my movie”. He describes the film as something meant to be lived rather than simply watched: “My movie is not just a movie; I believe it’s also an experience, that’s what I tried to do during the process of making. An experience sometimes takes time”. For him, art’s power lies not in changing the world but in shifting something at the scale of individual choices: “The movie or art in general cannot change anything, cannot change the world, cannot keep the world survive, but can touch something in a scale of personal life and personal choices where you can feel something about yourself. And you can keep some more power and more energy to make decisions what can be more bright and beautiful than other decisions what you can also take”. That hope, he adds, requires acknowledging darkness rather than denying it: “There is no day without night. And if you are with a long night you need to believe that the day will come, but you cannot also deny the fact that the night exists. And you need to understand that this night exists inside yourself and not somewhere else, and then you can fight with that and then you can do something with yourself”.

Responding to the controversy

The film’s presence in Venice was criticized over its funding and origins, including a letter from Ukraine’s Ministry of Culture. Khrzhanovsky rejects the word “criticism” itself: “I don’t see it like criticism; I think it’s like a mistake”. He frames the objection as understandable given the context, without accepting it: “They have their own agenda, and it’s logical that they have this agenda. They are in a bloody, terrible war which was started in 2022, and this war is already longer than the war between the USSR and Germany. It’s absolutely a terrible war and a huge tension, and sometimes they just don’t have enough time to research who and what”. He states his own position on the war, and on his relationship with Russia, in personal terms: “It doesn’t change any of my position and love and respect and wishes to Ukraine to survive and to be strong during this war, and I hope to win in this form or other form. […] In Russia, I don’t have Russian citizenship anymore, and I’m probably the only film director who is on the list of foreign agents, a kind of list of enemies of the Russian state. That’s my reality”. He closes the point by thanking the festival for its response: “I’m very thankful, of course, to Alberto Barbera and to the festival and to Biennale for the response they took”.

A Soviet DNA he says still poisons the present

Asked what his film says about Russia today, Khrzhanovsky traces a line back to the system’s founding decades, using language he chooses deliberately: “We’re talking about a kind of DNA of the Soviet totalitarian system, and this DNA was built in the 20s and 30s, and then 40s, in the time of Lenin and Stalin, and the way how they acted, how brutally they destroyed their own country and own citizens, because it was genocide against their own country”. That same self-destructive drive, in his view, persists today: “This inertia of self-destruction and destruction of other countries, and this inertia of imperial feeling in a kind of perverse way, is happening now. […] This kind of poison was spread around the world. Now we’re just seeing how this poison keeps reacting and poisoning neighbors without accepting the fact that they’re free”. He says he set out to place that dynamic within a wider picture: “Now we can focus on the story in Russia and Ukraine, but you can also look to the story of what’s going on on the 7th of October, what was with Iran, Israel, Palestinians, then we see what is boiling and could happen in Asia, we see what’s going on with right-wing movement in Europe and how dangerous it is. I tried just to talk about a more general thing and to give a feeling of danger of big apocalyptic destruction […] happening with us, with people, because all of us are as brothers and sisters and we should feel it as well”.

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Bibiana Rojas Gómez and Juan David Cárdenas discuss their film The End of Times, which premiered during 41st Critics Week at the Venice Film Festival 2026. The film explores complex themes through a blend of family footage, AI-generated scenes, and experimental audiovisual strategies. Their conversation sheds light on the innovative process behind this ambitious project, which challenges traditional notions of documentary and fiction.

The blending of memory and invention in The End of Times

The directors explain that their film navigates the delicate boundary between reality and imagination, emphasizing that the past is ultimately a construction shaped by the present. They aimed to create a visual and narrative approach that would keep viewers engaged without causing confusion. To achieve this, they spent over four years experimenting with different audiovisual techniques, balancing clarity with risk to evoke a double sensation—making the audience feel they are watching a documentary that is, in fact, a work of fiction. The process involved working with a vast amount of material, including 70 hours of family archives, which served as the foundation for constructing the characters and story.

The role of The End of Times in addressing cultural and political sadness

The film’s portrayal of maternal sadness is rooted in a fictional narrative, although it draws heavily from archival footage. The filmmakers clarify that the characters representing the mother, Salome, and other family members are created constructs based on recurring themes observed in the archives. They see sadness as a symptom of contemporary society, reflecting broader cultural and political issues. The directors emphasize that their approach was to explore these themes through a poetic lens, using fiction to highlight the universality of emotional struggles rather than offering a literal or documentary account.

The use of AI to explore history with irony and distance

A significant aspect of The End of Times involves the integration of AI-generated content, especially when depicting historical atrocities like dictatorships and colonialism. The filmmakers describe how they used AI to generate images that often carry an ironic tone, such as scenes of social inequality portrayed through surreal or exaggerated visuals. They highlight that AI served as a tool to reflect on the precariousness of the world, creating a visual radiography of contemporary issues. This approach allowed them to distance themselves from a purely dramatic treatment, instead offering a hallucinated, poetic perspective that invites viewers to reconsider the weight of political history.

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