DaQuane Cherry was once the kid who wore a hoodie to hide skin flare-ups in school. Now he’s an artist and advocate helping others feel seen. He reflects on his psoriasis journey, the power of small joys, and why loving yourself first isn’t a cliché—it’s essential. Plus, a deep dive into the history of La Roche-Posay’s legendary spring. See omnystudio.com/listener for privacy information.…
Il programma della 22esima edizione delle Giornate degli Autori di Venezia è stato annunciato. La direttrice artistica Gaia Furrer sottolinea qualche “numero” importante: 10 titoli in concorso, 1 film di chiusura fuori concorso, 5 eventi speciali, 2 corti del progetto Miu Miu Women’s Tales e 9 delle Notti Veneziane. 20 sono le nazioni e culture rappresentate. I film del concorso, verranno valutati per il GdA Director’s Award (un premio di € 20.000 per regista e distributore internazionale) e la giuria di quest’anno sarà presieduta da un grande ritorno alle Giornate: lo scrittore e regista norvegese Dag Johan Haugerud , vincitore dell’Orso d’oro alla Berlinale 2025 e alle GDA nel 2019 con Barn. Unico e ultimo film italiano del concorso è “La Gioia” , secondo lungometraggio del regista napoletano Nicolangelo Gelormini . Tra Selezione Ufficiale e Notti Veneziane, un’eccezionale partecipazione di straordinarie e popolari interpreti come Jasmine Trinca , Valeria Golino , Giuliana De Sio , Geppi Cucciari , Greta Scarano , Miriam Leone , Tecla Insolia , Benedetta Porcaroli , Isabella Ragonese , Donatella Finocchiaro , Iaia Forte , Joanna Hogg , Alice Diop e il Premio Nobel per la letteratura Annie Ernaux. The post Gaia Furrer, intervista alla delegata generale delle 22° Giornate degli Autori appeared first on Fred Film Radio .…
La grande attesa è finita. Alberto Barbera , il direttore artistico della Mostra Internazionale d’Arte Cinematografica di Venezia ha finalmente svelato il programma dell’ 82° edizione , in programma dal 27 agosto al 6 settembre 2025. Con un’apertura già annunciata con “ La Grazia ” di Paolo Sorrentino in concorso, Venezia 82 mette ben altri 4 titoli italiani in concorso: “ Elisa ” di Leonardo Di Costanzo , “ Duse ” di Pietro Marcello , “ Sotto le nuvole ” di Gianfranco Rosi e “ Un film fatto per bene ” di Franco Maresco . Attraverso questi titoli e molti altri di casa nostra in programma tra Orizzonti, Spotlight e Fuori Concorso, Barbera riflette sullo stato di salute del cinema italiano. Fuori concorso per sua volontà e quella di Prime Video, “ After hunt ” di Luca Guadagnino che vedrà la protagonista, Julia Roberts , calcare per la prima volta il carpet del Lido. Tra i titoli attesissimi che hanno confermato la loro presenza a Venezia: “ The Wizard of the Kremlin ” di Assayas con Paul Dano , Jude Law , Alicia Vikander , “ A House of Dynamite ” di Kathryn Bigelow , “ Frankenstein ” di Guillermo Del Toro , “ Bugonia ” di Yorgos Lanthimos con Emma Stone e “ Father Mother Sister Brother “, la prima volta di Jim Jarmusch in concorso a Venezia. The post Alberto Barbera, intervista al direttore artistico della 82° Mostra d’Arte Cinematografica di Venezia appeared first on Fred Film Radio .…
La 40° Settimana Internazionale della Critica di Venezia , che si terrà dal 27 agosto al 6 settembre al Lido di Venezia, ha annunciato la sua selezione. Un doppio anniversario si celebra in questo 2025: la fondazione della SIC, nel 1984, su iniziativa di Gian Luigi Rondi , direttore della Mostra del Cinema di Venezia, e accolta dal presidente del SNCCI Lino Miccichè e dal critico Giorgio Tinazzi , primo delegato generale. E i dieci anni di SIC@SIC, nata da un’intuizione di Carla Cattani di Cinecittà a creare un vivaio dedicato ai cortisti italiani. Nata sul modello della Semaine de la Critique di Cannes e con una mission immutata che coincide con il gusto per la scoperta dell’opera prima, la 40° SIC riafferma la scelta come suo principale atto di responsabilità. L’apertura della SIC, fuori concorso, è in mano alla regista francese Caroline Deruas Peano con “ Stereo Girls ” che segna il ritorno di Emmanuelle Béart al lido e vede protagonista la figlia e sorella d’arte Lena Garrel . La chiusura è altrettanto punk come è iniziata, con “ 100 Nights of Hero ” di Julia Jackman , tratta dall’omonima graphic novel e commedia in costume che rilegge la figura di Sherazade in chiave queer, modernista e femminista. Tra i protagonisti: Emma Corrin, Nicholas Galitzine, Maika Monroe , Charli XCX, Richard E. Grant e Felicity Jones . In mezzo, un concorso di 7 titoli, di cui 2 italiani, “ Agon ” e “ Waking Hours ” dove le registe e i registi, per citare la delegata generale Beatrice Fiorentino , “ urlano parecchio con grande varietà artistica ” e con un intenso valore politico, di denuncia, di rivoluzione da parte di una generazione che deve risolvere i mali del mondo. The post Beatrice Fiorentino, intervista alla delegata generale della 40° Settimana Internazionale della Critica di Venezia appeared first on Fred Film Radio .…
At the Rome Film Fest 2024 , Teemu Nikki , alongside actresses Elina Knihlä and Pirjo Lonka , talk about their heartfelt dark comedy, “ 100 Litres of Gold” . The film, set in rural Finland, follows two sisters whose legendary homemade beer, sahti , leads to a chain of hilarious and chaotic events. Sahti: A Disappearing Heritage “ I’m from that culture. My family has made sahti ,” says Nikki , explaining why this traditional brew is more than just a drink—it’s a cultural symbol. The film pays homage to a fading tradition and celebrates the strong identity of small Finnish communities. Laughter as a Tool for Reflection “ As long as there is laughter, there is hope ,” says Nikki, describing his passion for black comedy. Though filled with absurd and comedic moments, “100 Litres of Gold” also addresses personal trauma and emotional resilience. “ I laugh at the things I’m scared of ,” he adds. Real Chemistry On and Off Screen Elina and Pirjo ’s performances are rooted in real-life friendship. “ We’ve known each other since we were 13 years old ,” they reveal. “ This is the first time we’re acting as sisters—it was a huge pleasure .” That natural bond brings authenticity and warmth to their on-screen relationship. Writing Women with Integrity Nikki script gives space to two complex, flawed, and hilarious women who carry the film with heart and grit. “Some directors say that it’s so hard to write a good script for women,” says Lonka , adding, “But he just did it because you don’t have to write the woman at all. There is just the person or character, then it happens.” “100 Litres of Gold” , directed by Teemu Nikki and starring Elina Knihlä and Pirjo Lonka , opens in Italian cinemas on July 17 with I Wonder Pictures . The post “100 Litres of Gold”, Interview with Director Teemu Nikki and Actresses Elina Knihlä & Pirjo Lonka appeared first on Fred Film Radio .…
Hablamos con Vicky Calavia , la directora del festival internacional de cortos La Mirada Tabú , establecido en Zaragoza, España, en el año 2012 y centrado en temáticas tradicionalmente excluidas del cine comercial, como el erotismo más subversivo, la salud mental, la muerte, narrativas centradas en las mujeres, en personas LGBTQI+, la crisis medioambiental o los derechos de los animales, entre otros muchos. La entrevista tiene lugar en Mánchester con motivo del pase especial de las producciones españolas del palmarés de la edición de 2024 en el Instituto Cervantes de la ciudad del noroeste británico. Vicky Calavia nos habla de la historia del festival, de los cortos que se incluyen en esta selección y de su documental María Moliner . “ Tendiendo palabras ” (2017), que se pasará también en el Instituto Cervantes de Mánchester aprovechando su visita y después de haber pasado por Burdeos o Río de Janeiro. Por último, la directora nos adelanta algunas de las actividades culturales previstas para la edición de este año de La mirada tabú, que tendrá lugar en Zaragoza durante el mes de diciembre. The post Vicky Calavia, entrevista con la directora del festival La mirada tabú appeared first on Fred Film Radio .…
Mexican director Michel Franco was in Karlovy Vary to present his Berlin-premiered, latest film, “ Dreams “, where Jessica Chastain (already starring, in a diametrically opposite role, in his previous movie, “ Memory “) plays a rich American woman who enjoys an affair with an enamoured, talented, and undocumented young Mexican ballet dancer ( Isaác Hernández ) whom she doesn’t seem able to really let into her wealthy benefactress world. It seems difficult not to immediately consider “ Dreams ” within the context the filmmaker’s body of work, for however very distinctive each new film he makes always is, since his petrifying debut “ Daniel & Ana ” (2009), each one also adds new layers and complexities to his often merciless and calmly drastic oeuvre, which makes it a rather vertiginous echo chamber. One of the many things “ Dreams ” brings in is, with Fernando, ‘ a strong character [who] loves [ Jessica Chastain ‘s character], but he’s got dignity, so if the relationship is not on equal terms, he’s not interested in being with her. And of course I’m Mexican so in a way, I wanted to build a character who is full of dignity, and talented and brave, but also a real character who, at some point in the film, makes mistakes. ‘ We discuss the irreconcilable distances between Jennifer and Fernando, and especially her inability to escape the vertical, exploitative system of relationships she is used to, and confortable in, which makes her unable to relate to him, as an individual, on an even plainfield. Asked about the house in this film (houses being one of the spaces he likes to explore in his films), Franco also underlines the strict divide between private and public life Chastain ‘s character never manages to abolish, and suggests that despite her maintained aloofness, she is ‘ lonely and sad’ living this ‘double life’, being unable to break away from a privileged world where, when all is said and done, she does not really have ‘her own voice, and she’s bossed around by the men in her family. ‘ Following this argument in ‘defense’ of a character whose radical act of betrayal seems nevertheless unforgivable, echoing other immoral, despicable deeds in Franco filmography, whether collective – like in the Cannes-awarded, gripping “ After Lucia ” (2012) or, very differently, “ New Order ” (2020), which floored its first viewers in Venice and bagged the Grand Jury Prize – or individual – “ April’s Daughter ” vividly comes to mind –, the conversation veers towards the satisfying quality, for the viewer, of revenge as a response to such foul acts in many of Franco ‘s films. Answering a question about the fact that a viewer’s mind struggles to even conceive the inhumanity and violence (physical or other) often depicted in them, so inexorable it sometimes eclipses the tenderness and kindness also present in his stories – for instance in “ Chronic ” (2015) and “ Sundown ” (2021), both starring Tim Roth –, so much so that it tends to want this violence to be purely fictional and hypothetical, Michel Franco is categorical: what he is interested in portraying is, ‘unfortunately, the reality of the world.’ ‘ Some people have absolute freedom […], but most people don’t enjoy these privileges. That’s the world, and I think that’s why people are upset everywhere, because of the social disparity. There are A class citizens [and] people having nothing, not even the minimum rights guaranteed. In the case of Mexico and the States, it’s very dramatic, because we see that on a huge border, and Mexico is treated like a backyard, and immigrants and Mexicans who support the American economy are not acknowledged and not treated in a respectful way in most cases. ‘ As it were, the strong impact of the filmmaker films may very well stem for the painful perception, on the part of the viewer, of the cruel contradiction between the evident humanism in them and this implacable lucidity, at least when it comes to a certain part of humankind. ‘ The films and books that interest me, always, are those which don’t shy away from the dark side of human behaviour, which we can witness it without much effort: it’s everywhere, unfortunately. […] I am more interested in a cinema that shows a little bit of who we are than in the silly fantasy of what we should be, without any true learning of who we are. […] If we live in such a troubled world, it is because we keep failing as human beings. ‘ The post “Dreams”, an interview with director Michel Franco appeared first on Fred Film Radio .…
A conversation with Brazilian director Davi Pretto about his fourth feature, “ Future Future “, a visually arresting and deeply affecting dystopian film, selected in the Proxima Competition section of the 59th Karlovy Vary International Film Festival , where the past is forgotten, and the future eerily similar to the present – as a title card reveals in the beginning of the film, it was shot in Porto Alegre during the cataclysmic floods of 2024. In the film, set in a near future, markedly divided into two distinct acts set in two opposite, adjacent spaces filmed and crafted in completely different ways – between which the mind of the protagonist, K., alternates throughout the movie –, that of the poor and that of the rich, various tragedies have already happened: a virus making it impossible to form mental images and therefore to retain memories, even that of one’s own name, virus which made necessary the use of AI machines to do ‘all the work’ in lieu of the humans, but also a ‘Split’ which has isolated the hungry and poor majority experiencing the critical state of the world every day from the wealthy part of the population dwelling in the supernatural redness of cold, modern flats floating accross the tops of cities contemplating the coming apocalypse, to paraphrase the poet. On the intentions behind the project ‘ We wanted to navigate through different crises that I believe we are living, these political, urbanistic, technological crises that, in some way, for me, are related. I think it’s impossible to talk about the technological crisis without talking about climate change… What I wanted to do is to put together some sort of a meditation about all these things, make the audience dive into some sort of bubble, put the audience into some sort of bubble and make them experience these things, and not only talk… well, not talk, because I don’t think the film is trying to give answers about these issues: we’re just trying to ruminate about these things .’ On the presence of AI in the film ‘ AI is something we address in the film, but I decided to use AI images, I wanted to, because I think it was important not only to put the audience in front of these images, but also to give them time to really look at them, proper time – because when you watch these images online, they are quite fast. I really wanted to make something that would give the audience a space [to consider] a horror, a nightmare .’ On the striking resemblance between the reality in “Future Future” and the present ‘ The title is a bit like a joke: it promises a really futuristic film, but at the end of the day, the first image that we see is the most common place in Brazil, a school, and then there is a street, and there is no element that indicates a near-future film. I think that was the goal: to really play with the audience’s expectations. ‘ The post “Future Future”, an interview with director Davi Pretto appeared first on Fred Film Radio .…
Since his debut solo feature in 2010, after a successful career in advertising and as a TV director, prolific Italian filmmaker and two-time novelist Paolo Genovese has conquered the public (and the box office) times and times again with his astute comedies gently exposing, through various high concept devices, the endearing flaws and vulnerabilities we all have, delivers another delightful crowd-pleaser where his interest in the meanders of the mind reaches new heights: “ Madly ” (“ FolleMente “, meaning ‘madly’ but also sounding like ‘crazy minds’ in its original language). The sentimental-driven comedy starring Edoardo Leo and Pilar Fogliati in the lead roles – revolving around a first date and shot in one single location, a flat –, already a resounding success in Italy, seems on its way to reiterate the prowess of his “ Perfect Strangers ” (2016), which holds the Guinness book world record for the most remade movie in cinema history (with 24 remakes). As Genovese was at the 59th Karlovy Vary International Film Festival to meet the public and show his new film, we took the opportunity to ask him a few questions about the origins of the project – an ad the filmmaker directed twenty years ago, followed by a ‘small-budget film no one saw, unfortunately’ – and how it evolved to become the feature he is presenting now. The director (also known for “ The Immature “, “ Blame Freud “, “ A Perfect Family ” or “ The Place “) describes what he perceives to be the more salient modern insecurities, and elaborates on the current popularity of psychoanalytical notions once widely rejected, also underlining the timelessness and universality of certain conflicts when it comes to the way the individual faces human connections. Genovese gives a few examples of what social media and text messaging have done to us, and how they lead to the construction of fake personae as well as reveal ‘ parts of the human nature we didn’t really know existed. ‘ We also ask him about his relationship with the public and the great acclaim “ Madly ” has received so far. On the most obvious new insecurities which have emerged in recent years What changed the most, says Paolo Genovese , since the first works in which played with the concept also at the core of “ Madly “, ‘is the relationship between men and women’, and although those changes are a good thing, this ‘new balance in the couple’ can be approached with irony. ‘ Men especially have developed insecurities. We now need to redefine our role in society, and with regards to the new role of the woman. Change has never happened faster than in the last ten years, so men are insecure’ and don’t exactly know how to behave, about important things, but also more trivial, potentially funny situations, like paying at the restaurant or holding the door, and ‘people relate a lot to that. ‘ On contemplating our imperfections through a specific point of view ‘ People love when a movie talks about their lives, when it touches something deep and they think “Wow, I’m imperfect, but a lot of people are imperfect, this story is telling me that we are all imperfect!”. And to understand how imperfect we are, we have to choose a new point of view from which no one has looked at things yet. In “Perfect Strangers”, the point of view was the phone, where we put all of our secrets. This is also the fil rouge in “Madly”: in “Madly”, we try to understand the people as seen from one point of view: our head, our brain. It’s the same as the phone: it’s where we put all our life, all our secrets. And when a movie presents a point of view which is inaccessible in real life, like your head, like your phone, it’s interesting. ‘ On not feeling insecure himself when it comes to presenting the public with a new film ‘ If I am happy about my story,[I feel fine]. What is important is to have an audience, no matter how big or small it is, and when I finish a movie and I’m happy about it, I am sure there will be an audience.If it’s big, it’s better, but if it’s a small one, it’s ok anyway.When you write a movie, I think you don’t have to wonder if the audience will like it. For me, an artist doesn’t have to give the audience what they knowthe audience will like: they have to give the audience something that maybe they could like, something new,something you can’t be sure people will like because if you’re sure, it means that this story has already been done. If it’s new story, a new idea, a truly new idea, it is a risk, and you have to take that risk .’ On meeting the public and different audiences ‘ I really go all around the world to festivals, for Q&As with the public, and it’s always interesting, because [it always allows you to understand how the public] feels about your story […], and many times, they understand something that you never thought about but which is true, it’s a new meaning, and so it’s interesting, especially seeing how different cultures react… With every culture, the reaction is different, and I find it very interesting to collect all these reactions to understand what, in the movie, is truly international, what everyone can understand and what is very local and Italian. ‘ The post “Madly”, an interview with director Paolo Genovese appeared first on Fred Film Radio .…
Greek director and musician Alexandros Voulgaris , a.k.a. The Boy, who has just world-premiered his latest work, “ They Come Out of Margo “, in the Proxima Competition of the 59th Karlovy Vary Film Festival , tells us more about this undescribable, extremely rich work centered around a fictional, once prolific female composer adored by the people of Athens – born by accident after the mysterious disappearance of a sister she never met whose name she bears in shortened form – who celebrates her 40th birthday with her dearest friends in the rich universe of the flat she hasn’t left in many years. Voulgaris describes his writing process and elaborates on the seemingly dissociative, fragmented structure of the film, teeming with existential and philosophical suggestions, and how it embraces more truthfully the all-at-once complexity of daily life. We also discuss death and generativity, the elevated cinematic references present in the film, its horror-like elements as well as its uncanny lightness, and the situation of female artists in the 70s and 80s, amongst other things. The post “They Come Out of Margo”, an interview with director Alexandros Voulgaris appeared first on Fred Film Radio .…
“ Seti loves music and singing, and she yearns for her voice to be heard. But in Iran, it is against the law for women to perform in public, and so the young girl decides to engage in her own personal protest. The street becomes her stage, and random passers-by become her enthusiastic audience. Her star rises. Seti becomes an idol of her generation, of young people who no longer want to live under ruthless political oppression. ” (Anna Kořínek, KVIFF official website) Soheil Beiraghi ‘s fourth feature, “ Bidad “, was officially the twelfth title to join the Crystal Globe Competition of the 59th Karlovy Vary IFF , as the organisers only unveiled its selection a few days before the festival, to make sure that he and the members of his crew could safely travel out of Iran, especially knowing that Beiraghi was investigated by the authorities during the shoot, also pointing out that ‘Bidad was made as an independent production; otherwise, it would never have been approved by the censors because of its critical tone.’ Beiraghi has been portraying strong female characters since his 2016 debut feature, bearing the ultimate self-assertive title of “ I “, starring Leila Hatami (“ A Separation “). If this first film also had a successful national release, both “ Cold Sweat ” (2018), an international festival darling and a three-prize winner at the Fajr Film Festival followingthe captain of the Iranian women’s national football team, and “ Popular ” (2020), on a female divorcee who wants to start a new life, were banned in Iran, the latter not even getting a public screening. The title of “ Bidad “, in which Seti, a young, Gen Z female singer who refuses to accept the fact that women in Iran are not allowed to sing in public defies her country’s religious laws, and starts performing in the street, refers at the same time to oppression, lament, and outcry. In our conversation with Beiraghi – who not only wrote and directed, but also co-edited and produced his film, and supervised the art department –, we discuss the image of Teheran and Iran presented in the film as opposed to the old-fashioned, lifeless notion of it the international public generally sees. Elaborating on Seti’s trajectory of self-assertion, the director also underlines the universal aspect of his character’s search for identity and youthful energy. The beautiful innocence of her budding friendship with the unconventional, contagiously carefree boy-who-doesn’t-tell-his-name is also mentioned. Beiraghi , who intends to continue to make films no matter what restrictions he may face, also points out how Seti’s need to be seen by the world reflects his own. Alef Pictures, the company through which Beiraghi produced his film, also handles international sales. The post “Bidad”, an interview with director Soheil Beiraghi appeared first on Fred Film Radio .…
Director Ondřej Provazník on "Broken Voices": 'I wanted to portrait the roots of the kind of #MeToo case that would come out ten, fifteen years after.' The post “Broken Voices”, an interview with director Ondřej Provazník appeared first on Fred Film Radio .
In "A Second Life", by French director Laurent Slama (previously working under the borrowed name of Elisabeth Vogler), Agathe Rousselle's stressed out character is balanced by 'a kind of angel', the kind of friend 'you want to have in your life.' The post “A Second Life”, an interview with director Laurent Slama appeared first on Fred Film Radio .…
"28 years later" marks Danny Boyle’s return to the viral horror world created by 28 Days Later The post “28 years later”, interview with director Danny Boyle appeared first on Fred Film Radio .
"Greek Apricots", a seemingly incompatible pair forming a bond during a night in a gas station The post “Greek Apricots”, interview with director Jan Krevatin appeared first on Fred Film Radio .
British director Paul Andrew Williams about "Dragonfly": 'I look at it like "Romeo and Juliet". It's a love story between these two characters, and it's a tragedy'. The post “Dragonfly”, an interview with director Paul Andrew Williams and actor Jason Watkins appeared first on Fred Film Radio .
The director-actress duo Nathan Ambrosioni-Camille Cottin held hands throughout the premiere of the former's remarkably composed third feature, 'Out of Love', at the 59th KVIFF. The post “Out of Love”, an interview with director Nathan Ambrosioni and actress Camille Cottin appeared first on Fred Film Radio .…
"Skin on Skin", the passionate and unexpected love story by Simon Schneckenburger is taking part to the 8th edition of Future Frames at KVIFF The post “Skin on Skin”, interview with director Simon Schneckenburger appeared first on Fred Film Radio .
Dissection of an incoherence in crisis, a Catalan but universal story world premiering at the 8th Future Frames at the KVIFF The post “Dissection of an incoherence in Crisis”, interview with director Nausica Serra appeared first on Fred Film Radio .
In Son of Happiness, Dominik Mirecki tells the moving story of Beniamin, a boy with Down syndrome who dreams of acting. Through heartfelt realism and emotional depth, Mirecki explores family bonds, love, and the courage to dream—even when the world says no. The post “Son of Happiness”, Interview with Director Dominik Mirecki appeared first on Fred Film Radio .…
In Karaokiss, Mila Ryngaert blends music, fantasy, and emotion to explore fear, love, and self-expression. The post “Karaokiss”, Interview with Director Mila Ryngaert appeared first on Fred Film Radio .
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