FRED Film Radio - English Channel

Torsten Frehse, director and founder of the EWIP – European Work in Progress platform, discusses the significance of this initiative in supporting European and international film projects. The conversation highlights the platform’s role in bridging the gap between production and distribution, and  emphasizes the importance of EWIP in fostering a more dynamic and accessible market for emerging filmmakers.

The role of EWIP in shaping film distribution strategies

Frehse explains that EWIP serves as a crucial marketplace where projects in the midst of production or post-production can be showcased to a targeted audience of buyers, sales agents, and festival representatives. It’s focus on distribution is due to the extensive experience of its director: Torsten Frehse is CEO of the German distribution companyNeue Visionen,and his co-director Olimpia Pont Cháfer,is the coordinator of the Spanish film distributor association, ADICINE and responsable of acquistions of the German distribution company Piffl Medien.
It’s not a chance, in fact, that in its 4th edition, EWIP developed the International Film Distribution Summit, which runs right after and complements it.
Unlike co-production markets, EWIP focuses on filling gaps in financing and distribution, often helping filmmakers secure the final funding needed to complete their films. The platform’s emphasis on early visibility allows for strategic planning and marketing, giving films a better chance to reach wider audiences and festivals, including major ones like Cannes, Venice, and Berlinale. Frehse notes that the platform’s international scope, including projects from Africa and other regions, enriches the diversity of films presented and broadens distribution opportunities.

EWIP – European Work in Progress as a catalyst for African cinema

One of the key initiatives withinEWIP is its focus on authentic African films, which Torsten Frehse describes as a response to the often stereotypical representation of African cinema in the international market. He recounts how his own efforts to connect African filmmakers with European distributors led to the creation of the African European Distribution Academy (AEDA), now part of the international distribution training program Toolbox of the Berlinale EFM. Frehse stresses that the platform aims to showcase genuine stories from Africa, often made by filmmakers from the diaspora, rather than conforming to festival trends or neo-colonial expectations. This approach seeks to give African projects a fairer chance at international circulation, emphasizing authenticity and cultural diversity.

The future of EWIP and IFDS and its impact on film markets

Looking ahead, Torsten Frehse highlights the ongoing evolution of EWIP and IFDS  as a vital hub for innovation in film distribution and financing. He mentions that the platform not only facilitates deals between producers and international sales agents but also fosters dialogue among distributors, funders, and festival programmers. The platform’s awards and in-kind support for completing films are designed to incentivize filmmakers and ensure projects reach the finish line. Frehse concludes that EWIP’s expanding network and its commitment to diverse, bold projects will continue to shape the landscape of European and global cinema, making it an essential part of the industry’s future.

The post Interview with Torsten Frehse, Co-Director and Founder EWIP-European Work in Progress appeared first on Fred Film Radio.

Avec Pascal Diot, directeur du Venice Production Bridge, nous avons discuté des résultats obtenus après 15 ans — puisque c’est la 15e édition cette année — d’avoir créé un endroit où les professionnels du cinéma ont plaisir à revenir pour discuter, négocier, échanger et travailler dans une atmosphère à la fois détendue et efficace.

La Création d’une Nouvelle Section

Diot nous dévoile un nouvel événement au sein du Venice Production Bridge, le VPB Location Market, destiné à couvrir l’ensemble de la chaîne de production du cinéma. Les lieux de tournage étaient un maillon manquant, pourtant essentiel pour les producteurs : sans lieu, pas de tournage possible. Le VPB Location Market rassemble des commissions du film et des studios, en créant un événement dédié au sein d’un festival de classe A — une première.

Un Nouvel Espace

L’événement se tient au Matchpoint Arena, où ont lieu traditionnellement les masterclasses du festival chaque après-midi. La programmation a été adaptée pour le matin : l’espace accueille deux ou trois panels chaque matin, destinés aussi bien aux professionnels qu’au grand public, puisqu’il s’agit d’un lieu ouvert à tous.

Le Choix des Thèmes du VPB

Diot confie avoir reçu de nombreuses demandes cette année, notamment pour des panels sur l’intelligence artificielle : submergé de propositions, il n’en a finalement sélectionné que deux ou trois. Pour soutenir le VPB Location Market, il a également créé un panel dédié aux lieux de tournage. Les sections traditionnelles du VPB restent inchangées, comme le Book Adaptation Bridge, limité à 30 participants tenus de venir avec l’intégralité de leur catalogue, ou encore le Venice Gap Financing Market, le marché de coproduction, qui compte déjà plus de 900 rendez-vous prévus sur trois jours.

Les Pays d’Honneur

Deux pays particulièrement chers à Diot sont cette année les pays d’honneur : la Suisse et la Grèce. Il se réjouit de cette double présence, qui correspond pour ces deux pays à un moment charnière. En Grèce, la fusion de plusieurs entités a donné naissance à une structure unique, le Hellenic Film and Audiovisual Centre (EKKOMED), qui devrait considérablement faciliter et soutenir l’industrie cinématographique du pays. En Suisse, les autorités réfléchissent également à revoir et à augmenter leurs subventions afin d’attirer davantage de tournages.

The post Interview avec Pascal Diot, directeur du Venice Production Bridge appeared first on Fred Film Radio.

Presented in the Open section, out of competition, at the 83rd Venice International Film Festival 2026, Boatbuilders is set at the head of a remote Maine harbor, where the sixty-some workers of the Brooklin Boat Yard coax wooden planks around a frame, make precise saw cuts, and sand edges for flawless joints, resulting in some of the most stunning and sought-after wooden vessels in the world. Over the course of four vibrant seasons, director Luke Lorentzen tracks the boatbuilders’ meticulous construction of a 56-foot sailboat while embedding us in the lives of these men and their close-knit community. Lorentzen talks about why he chose this story after a difficult previous film, about building the film as an ensemble rather than around a single lead, and about the attention to detail he learned from the boatbuilders themselves.

Falling back in love with the process of shooting

Lorentzen explains that Boatbuilders was, in part, a deliberate reaction to the film he had made right before it: “I had just finished a film before Boatbuilders that was incredibly meaningful to me but was emotionally very difficult. It was about end of life care in a hospital in New York City. And I knew that I loved filmmaking, but I needed to pick another topic that would be playful and delightful.” That search led him back to a place from his childhood summers: “Maine is a place that I grew up going every summer, and I always just felt really good when I was there. I decided to try and find a story that would ask me to be there for a really long period of time. So I found the Brooklin Boatyard and shot with them for about 16 months. It was just a totally life-affirming, beautiful experience, and I’m hoping the film can give the audience the same thing I was craving, and I think many of us are.”

A film about a community, not a single hero

Trent, the yard’s project manager, emerges as one of the film’s most present figures, but Lorentzen is careful to frame him as part of a larger whole: “Trent stuck out from the very first day of being in Brooklin. He’s such a tender, sweet person, and he’s also just incredible at building things. But it’s really a film about community as well, and it’s not just about one person doing something. It’s about a whole collective of people who each have their own part of the project and can only finish the boat together.” That collective structure, he says, shaped the shoot and the edit alike: “It’s different from any other film I made, in that it’s really an ensemble of many people. Throughout the shooting I needed to really get to know all of the 60 people who work at the boatyard, and in the edit figure out how all of their personalities and the energy of their work together could come through, without it feeling like the film needed a core person to follow.”

Learning to look at the world like a boatbuilder

Asked about the almost hypnotic, meditative quality of some sequences, Lorentzen says it reflects exactly what he was chasing on set: “My goal was to live the story and to be there as much as possible. The yard welcomed me into their family, and I knew that over time that would work its way into the film. I was just looking for things that were satisfying or mesmerizing, things I couldn’t look away from, but not always knowing why.” That quality of attention, he explains, came directly from the boatbuilders’ own discipline: “I was trying to get into a headspace where I wasn’t overlooking things, where small little tensions or small little details mattered. And that really came from the boatbuilders: their job is to be incredibly detail oriented, and I learned how to look at the world through that perspective.”

The post “Boatbuilders”, interview with director Luke Lorentzen appeared first on Fred Film Radio.

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.

Building Bridges for Armenian Cinema

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.

The Challenges and Opportunities for Armenian Cinema

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.

Supporting International Productions in Armenia

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.

The post Interview with Annie Galstyan, Head of International relationships at PFFP appeared first on Fred Film Radio.

Liryc Dela Cruz, director of the short film A Brief Encounter, discusses his latest work at the International Critics Week section of the Venice Film Festival 2026. The film explores themes of trauma, tenderness, and human connection amid a backdrop of violence and digital detachment.

Exploring Tenderness in A Brief Encounter

Dela Cruz explains that the story was inspired by a conversation about Filipino digital cleaners, highlighting the often unseen labor behind online footprints. The narrative centers on a woman who receives distressing news about loved ones’ suicides, but instead of dwelling on violence, the film emphasizes intimate gestures and human care. He emphasizes that the off-screen tragedies serve as a stark contrast to the gentle physical contact portrayed on screen, aiming to evoke empathy without explicit violence. The filmmaker also notes his intention to capture fleeting moments of connection that stand out amid a flood of violent images in contemporary media.

The Role of the Digital Space

The director discusses his deliberate use of changing aspect ratios, shifting from color to black and white and from wide to square formats, to reflect the evolving nature of digital identities. He sees cinema as a collective experience that can produce profound emotional responses, especially when depicting moments of tenderness and joy often invisible in mainstream portrayals. Dela Cruz highlights his desire to offer viewers a different perspective—one that celebrates human pleasure and desire beyond suffering, challenging the Western tendency to fetishize poverty and pain. His aim is to create a space where viewers can see others as complex beings capable of feeling and self-determination.

Current Projects and Future Directions

Dela Cruz shares that he is working on a new feature titled Una festa peruviana, a love letter to Rome that explores the presence of bodies in the city’s landscape. Unlike his previous works rooted in his home country, this project reflects his current life in Italy and his interest in how bodies inhabit and reroute through space without invasion but through coexistence. He expresses enthusiasm for his upcoming film and hopes that his recent short, A Brief Encounter, will resonate with audiences by emphasizing subtlety and human connection in a time dominated by images of violence.

The post “A Brief Encounter”, interview with director Liryc Dela Cruz appeared first on Fred Film Radio.

Presented in Venice Open – Out of Competition during the Venice Film Festival 2026, The Basics of Philosophy follows John Jorissen, a philosophy professor in the American Midwest working on a book about Spinoza, whose quiet life with his partner Becca and her son Willie is upended when the sudden reappearance of a young man, Miguel Basque, at his estranged father’s funeral forces him to confront a past incident he has never accounted for.

Wracked with guilt and doubting that Spinoza’s God will ever pardon him, Jorissen buys a lethal dose of euthanasia powder even as he asks Becca to marry him. Director Paul Schrader talks about the film’s questions of change and forgiveness, and about how he sees film criticism in the age of the internet.

Change, Guilt, and Forgiveness

Asked about the possibility of change, both in the film and in his own filmmaking over the decades, Schrader ties the question directly to the line his character speaks: “As the character says, I think I have changed but I have not been forgiven.” He describes what drew him to that idea: “Can we really change, and can we really forgive ourselves? I thought that was an interesting theme.” He is less convinced, though, that people themselves change very much at all: “If I go back to even the days before I was a filmmaker, when I was a film critic, I don’t think I have changed that much. The mold is cut for us in our childhood, the computer is programmed, and we run that program for the rest of our days.”

Film Criticism in the Age of the Blog

Asked how he, a former film critic himself, sees film critics today, Schrader points to the internet as the great disruption: “Film criticism has obviously been changed by the internet. You used to be able to come to a festival and do about 20, 30 things, and that would cover the world. Now you do 10,000 things, and you can’t cover the world. Everybody has a blog, everybody has a website. It’s just huge, in a way. So in order to reach the same number of listeners or readers, you just have to do a lot more work.” He says he still keeps a hand in criticism himself, in a smaller way: “I’m quite active on Facebook because it allows me to be a kind of critic of sorts. I can go to a movie, have an opinion about it, and just post it on Facebook. It’s a way for me to return, in a small way, to criticism.”

The post “The Basics of Philosophy”, interview with director Paul Schrader appeared first on Fred Film Radio.

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.

The post “Listy-Letters from the Silenced Country”, interview with director Andrei Kutsila appeared first on Fred Film Radio.

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.

The post “Guria”, interview with director Levan Koguashvili and producer Boris Frumin appeared first on Fred Film Radio.

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.

The post “I Matter”, interview with director Alina Şerban and producer Carla Fotea appeared first on Fred Film Radio.

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.

The post “Too much Sugar”, interview with director Robert Greene appeared first on Fred Film Radio.

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.

The post “Union Town”, interview with director Barbara Kopple and producer Hannes Hosp appeared first on Fred Film Radio.

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.

The post “A Day in the Life of Jo: Chapter Phaedra”, interview with director Jacqueline Lentzou appeared first on Fred Film Radio.

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.

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

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.

The post “What Belongs to Others”, interview with director Grzegorz Dębowski and producer Agnieszka Skalska appeared first on Fred Film Radio.

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

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.

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

During the Venice Film Festival 2026 we spoke with director 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.

The post “Big Little Things”, interview with director Michelle Zhou appeared first on Fred Film Radio.