FRED Film Radio - English Channel

Marian Arechega, the director of the Edinburgh Spanish Film Festival, discusses the evolution and highlights of the festival’s 13th edition. She emphasises the festival’s growth in Scotland, its diverse programming, and its efforts to foster cultural exchange through Spanish cinema. This interview offers insight into how the festival continues to strengthen its role as a key platform for Spanish films in the UK. The festival’s development and regional reach Marian Arechega explains that the Edinburgh Spanish Film Festival began thirteen years ago with no prior experience in organising such an event. Over time, it has established itself firmly within Scotland, attracting a growing audience and creating a stable cultural initiative. Originally focused solely on Edinburgh, the festival now extends its screenings to several Scottish cities and even beyond, including one event in Manchester, broadening its impact and visibility. Diversity of themes and films in the Edinburgh Spanish Film Festival This year’s…

In Italian cinemas from October 1, distributed by MUBI, Her Private Hell is Nicolas Winding Refn‘s first feature in ten years, since The Neon Demon. Set in a surreal, futuristic metropolis shrouded in pink mist, the film follows Elle (Sophie Thatcher), a rising movie star preparing to shoot a space odyssey alongside her ex-lover turned stepmother (Havana Rose Liu), while elsewhere in the haze an American GI (Charles Melton) wanders the desolate streets in a desperate search for his daughter. As a sinister figure known only as the Leather Man stalks the city’s shadows, their lives begin to converge, dissolving the boundaries between past and present, memory and fate. The director talks about blending many genres into a single film, the father-daughter relationship at its core, his collaboration with composer Pino Donaggio, and the near-death experience that brought him back to cinema after years spent in the world of streaming. Many movies in one For Refn, the starting point was the idea that genres no longer…

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 company Neue 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.…

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…

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…

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…

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…

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…

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…

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 Koguashvili and producer Boris Frumin discuss 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…

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’s own experiences. Alina Şerban and 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…

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…

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…

A Day in a Life of Joe: Chapter Phaedra by director Jacqueline Lentzou, presented in Orizzonti at the Venice Film Festival 2026, follows a seemingly ordinary day in the life of a 15-year-old boy in suburban Athens, gradually revealing deeper existential themes. The transition from the ordinary to the cosmic in “A Day in a Life of Joe: Chapter Phaedra” Jacqueline Lentzou discusses her latest film, A Day in a Life of Joe: Chapter Phaedra explaining that her film reflects her own way of experiencing life, caught between the tangible and the intangible. She describes her worldview as being inherently in-between, where the boundary between the real and the cosmic is blurred. Lentzou emphasizes that the universe, including the cosmic, is intertwined with everyday life, making the magical aspects of her film feel natural rather than fantastical. She highlights how the film’s narrative explores this interconnectedness, especially through the character of Joe, who often slips into dreamlike states that feel more real…

Until the Day Ends, presented in Orizzonti at the Venice Film Festival, is set against the backdrop of student protests and political divisions in contemporary Serbia. Director Jelena Maksimović’s film explores themes of youth, political activism, and personal transformation. 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…

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

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 Night marks a thematic evolution from her previous work, focusing on the internal and external journeys of her characters. While her earlier film was indeed set within the confines of a cramped Mumbai apartment, this new work takes viewers into the bustling city streets, following multiple characters in transit and emphasizing that migration is a…