FRED Film Radio - English Channel

At the 44th Bergamo Film Meeting, producer Marc van Warmerdam presents his brother’s complete film retrospective as director Alex van Warmerdam is the protagonist of the section Europe, Now! The second time in Bergamo It’s not the first time that Alex van Warmerdam’s is being celebrated at the Bergamo Film Meeting. The director was in Bergamo in 1993 with his film “The Northerners” which won the the Rosa Camuna d’Oro. As part of the section that celebrates contemporary European Cinema, Marc van Warmerdam will be holding a seminar about his and his brother’s films, from the first , “Abel“, to the last one “Schneider vs. Bax“. A cinema that defies convention Marc van Warmerdam comments on what has been written about his brother’s cinema confirming every word: Van Warmerdam’s cinema is characterized by dark and grotesque humour, unpredictable situations that subvert expectations, unpleasant characters and off-kilter human relationships. It is a cinema that defies convention. European Cinema As a producer of contemporary European Cinema, Marc van Warmerdam gives his opinion on what might be the role today of our cinema. Is this the right moment for European Cinema to finally assume the task of raising awareness on today’s world issues? Marc van Warmerdam reminds us that European cinema today faces a landscape of increasing co-productions and limited funding, making the producer’s role even more significant. Producers facilitate cross-border collaborations, enabling filmmakers to pool resources and talent across countries. By doing so, they help sustain a diverse and innovative cinema culture that can stand out on the world stage. The post Marc van Warmerdam, interview with the producer in the section Europe, Now! appeared first on Fred Film Radio.

In 2014, the Bergamo Film Meeting dedicated to the French illustrator and animation film director Pierre-Luc Granjon an exhibition “Nel Regno di Pierre-Luc Granjon- In the Kingdom of Pierre-Luc Granjon” where drawings, sculptures, sketches, set designs and backstage photographs of his works were displayed. That same year, the Bergamo Film Meeting dedicated a complete retrospective to him, accompanied by a monographic catalogue. At the 44th edition of the BFM, Pierre-Luc Granjon is back as a guest of the animation cinema section, to participate in the focus on the antique pin screen technique. Granjon’s unique approach to the pinscreen technique On Saturday 14th, under the title: “Petite escapade” –  the cinema of Pierre-Luc Granjon the director will held a seminar in English, dedicated to his cinema and open to the public. As a filmmaker, Granjon is renowned for his mastery of traditional techniques like the pin screen, which he uses to create mesmerizing shadow and light effects. He has expanded the potential of this antique method by deliberately focusing on volumes and contrasts rather than precise lines, which adds a distinctive, textured depth to his films. The director comments what the Bergamo Film Meeting has written about his use of the pinscreen technique, in a totally unexpected way: he ignores the lines and focuses on the masses instead, on the contrasts and the impact of light. Becoming an illustrator and animation film director Pierre-Luc Granjon unveils the genesis of his work as an illustrator and animation director as everything started for him when, after graduating at the School of Applied Arts in Lyon, he visited the Folimage studio in Valence. He started working there as a stop-motion model maker and decided to not only work as a model maker but also as a director creating stories. Staying connected to your inner child Pierre-Luc Granjon’s work is celebrated for its subtle storytelling that appeals to both children and adults. His work often explores themes of symbiosis between humans and animals. The secret to Granjon’s creativity is his ability to access his childhood memories and stay connected to his inner child. The post Pierre-Luc Granjon, interview with the protagonist of Animation cinema *pinscreen* at the 44° BFM appeared first on Fred Film Radio.

Johnathan Stiasny presented his last film  “Bowie: The Final Act” at Seeyousound Festival, in Turin. In this  documentary he explores the pivotal moments of Bowie’s music career and the late years of David Bowie’s extraordinary career and personal life. This film offers an intimate look at Bowie’s albums from the end of the 80’s on, including Blackstar, and the profound impact they had on those around him. Through insightful interviews and carefully curated footage, “Bowie: The Final Act” captures the essence of an artist driven by constant reinvention and artistic bravery.  Unveiling a Legendary Career “Bowie: The Final Act” focuses on Bowie’s last decade and some, pointing out previously underexamined works from the 90s onward. The film explores his constant reinvention, from his experimental albums to his late-career masterpieces like Blackstar. This approach allows viewers to understand how Bowie constantly challenged himself, pushing artistic boundaries until his final moments. The documentary’s narrative-driven structure provides a nuanced portrayal of his last years, highlighting both his creative process and his personal reflections. It is a vital watch for anyone interested in Bowie’s enduring legacy. The Emotional Power of Bowie’s Last Work A striking element of “Bowie: The Final Act” is its portrayal of the profound emotional impact of Blackstar. The film delves into the stories of those close to Bowie during its creation, revealing a layered portrait of an artist confronting mortality. The final scenes, particularly the analysis of how Blackstar resonated after Bowie’s passing, are deeply moving and have left many viewers, including myself, in tears. This segment of the film captures the haunting beauty and significance of Bowie’s last musical statement, making it a powerful tribute to his artistry. Johnathan Stiasny in his film truly emphasizes how this album became Bowie’s requiem, destined to influence generations to come. “Bowie: The Final Act” offers an insightful and emotional exploration of David Bowie’s final years, celebrating his relentless pursuit of artistic innovation. The film’s detailed interviews with collaborators and close friends enrich this narrative, providing new perspectives on his legacy. For fans and newcomers alike, “Bowie: The Final Act” stands as a testament to his daring spirit and creative genius—an essential watch that highlights why Bowie remains a timeless icon. The post “Bowie The Final Act”, interview with director Johnathan Stiasny appeared first on Fred Film Radio.

Giorgio Gosetti, film critic, journalist, and cultural organiser who, for more than forty years, helped shape and redefine the Italian film festival landscape, passed away in Rome on the morning of 6 March 2026. His passing leaves a profound void in the Italian and international film community among journalists, critics, filmmakers and festival organisers. Throughout his career, Gosetti represented a rare figure in the European cultural scene: a professional equally authoritative in film criticism, journalism and cultural programming. The Venice Years His professional path began in Venice, a city with which he maintained a deep lifelong bond. In 1980, he began collaborating with the Venice International Film Festival under the direction of Carlo Lizzani. In the following years, he worked alongside Gian Luigi Rondi and Gillo Pontecorvo, becoming Deputy Director of the Festival and Head of its permanent activities. At the same time, he developed an intense career in journalism. From 1990, he was a professional journalist with ANSA and contributed to several film publications, including Cinecittà News and the monthly magazine Ciak. As early as the 1980s, his strong vocation for cultural organisation became evident. After collaborating with MystFest in Cattolica, he served as its director from 1987 to 1990. Previously, he had founded the television festival AntennaCinema, anticipating reflections on the relationship between cinema and television. Noir in Festival and the Giornate degli Autori In 1991, Gosetti founded Noir in Festival, which became one of Europe’s leading events dedicated to noir cinema and culture. Under his direction, the festival fostered dialogue between cinema, literature and television, turning the crime genre into a space for cultural and critical reflection. In the late 1990s, he was appointed by Luciana Castellina to direct Italia Cinema, later FilmItalia, a position he held until 2004. That same year, he helped found the Giornate degli Autori at the Venice Film Festival. This independent section, promoted by Italian authors’ associations and supported by Citto Maselli and Emidio Greco, aimed to provide space for freer and more daring cinema. Over the years, Gosetti became one of its central figures, serving as General Delegate and helping shape its international identity. Rome, Institutions and Education His professional path was also deeply connected to Rome. Giorgio Gosetti participated in the creation of the Rome Film Fest, which he directed from 2006 to 2008. He later led the Casa del Cinema at Villa Borghese until 2022, transforming it into one of the key meeting places for audiences and industry professionals. He was one of the founders of AFIC (Association of Italian Film Festivals), serving several terms as its president until 2024. Over the years, he coordinated cultural missions in China for ANICA and the Ministry of Culture and contributed to the planning of the National Museum of Cinema in Turin. He also collaborated with international festivals, including the Reykjavik International Film Festival. Alongside these roles, he pursued an intense academic activity. He taught cultural event management at IULM University in Milan, sharing his experience with new generations of professionals. Critic and Essayist Alongside his institutional work, Gosetti maintained a strong commitment to critical research and writing. He published essays and books on key figures and themes in film history, including studies on Marguerite Duras, Luigi Comencini, Alfred Hitchcock, Orson Welles and Allan Dwan. Part of his research focused on post-war Italian noir cinema and on the relationship between cinema and journalism. He was a member of the Italian Film Academy, served on the jury of the David di Donatello Awards, and was a member of the National Union of Italian Film Critics. Remembering Giorgio Gosetti — FRED Film Radio For the FRED Film Radio editorial team, Giorgio Gosetti held a special place. His support and trust accompanied the radio’s growth across international festivals, opening the doors to key events, meetings and collaborations. As General Delegate of the Giornate degli Autori, Gosetti supported FRED Film Radio from the very beginning, when it started broadcasting from the section’s headquarters at the Venice Film Festival in 2011. His openness and confidence allowed the radio to find a natural home within one of the festival’s most vibrant spaces. It is no coincidence that FRED Film Radio calls itself “The Festival Insider”: the station’s identity is rooted in its close attention to film festivals — those very places of discovery, dialogue and creative freedom that Gosetti always considered central to the life of cinema. Without his work, his trust and his professional generosity, the journey of FRED Film Radio at festivals and at the Giornate degli Autori would not have been the same. FRED Film Radio expresses its condolences to the family, friends, and the global film community, mourning the loss of a man who dedicated his life to cinema. Farewell, Giorgio. The post Giorgio Gosetti, critic and soul of the Giornate degli Autori, has passed away appeared first on Fred Film Radio.

Il Festival de Cannes assegnerà la Palma d’Oro onoraria al regista neozelandese Peter Jackson durante la cerimonia di apertura della 79ª edizione, prevista per il 12 maggio 2026. Il premio riconosce un percorso artistico che ha saputo coniugare il cinema spettacolare e la visione autoriale, ridefinendo il linguaggio del blockbuster contemporaneo. Jackson si unisce a una lista di personalità premiate negli ultimi anni, che comprende Agnès Varda, Marco Bellocchio, Jodie Foster, Meryl Streep e Robert De Niro. Commentando l’annuncio, il regista ha dichiarato: “Essere onorato con una Palma d’Oro onoraria a Cannes è uno dei più grandi privilegi della mia carriera. Cannes è sempre stata una parte significativa del mio percorso cinematografico. Nel 1988 partecipai al Marché du Film con il mio primo film, Bad Taste, e nel 2001 presentammo una sequenza in anteprima di The Fellowship of the Ring. Questo festival ha sempre celebrato un cinema audace e visionario.” Il momento decisivo a Cannes Il legame tra Peter Jackson e Cannes ha radici lontane, ma un episodio del 2001 segna un punto decisivo nella sua carriera. Era il 13 maggio 2001: il Festival di Cannes apriva la sua 54ª edizione con Moulin Rouge! di Baz Luhrmann. Nello stesso anno, Nanni Moretti avrebbe poi ricevuto la Palma d’Oro per La stanza del figlio, consegnata dalla presidente della giuria, Liv Ullmann. In quei giorni la stampa poté assistere alla proiezione di 26 minuti di The Lord of the Rings: The Fellowship of the Ring, ancora in fase di montaggio. Quella presentazione trasformò lo scetticismo iniziale in entusiasmo. L’epopea cinematografica della Terra di Mezzo cominciò simbolicamente proprio sulla Croisette. La trilogia avrebbe poi conquistato 17 premi Oscar, tra cui gli 11 ottenuti da The Return of the King, risultato che eguaglia i record di Ben-Hur e Titanic. Con circa 3 miliardi di dollari di incassi globali, la saga è diventata una delle imprese cinematografiche più influenti e redditizie della storia del cinema. Un nuovo linguaggio per il fantasy L’adattamento dell’opera monumentale di J.R.R. Tolkien rappresentò una sfida produttiva senza precedenti. Prima di affrontare questa impresa, Jackson aveva già attirato l’attenzione della critica con film come Bad Taste (1987), Braindead (1992) e Heavenly Creatures (1994). L’intera trilogia fu girata in Nuova Zelanda con un progetto produttivo gigantesco: due anni di preparazione, 274 giorni di riprese, tre anni di post-produzione, oltre 20.000 comparse e circa 2.400 tecnici coinvolti. Fondamentale fu il lavoro dello studio Wētā FX di Wellington, che sviluppò nuove tecnologie per la creazione di folle digitali e di sequenze di battaglia, mantenendo al contempo un forte uso di scenografie reali e di tecniche tradizionali. Sequenze come le Miniere di Moria, la battaglia del Fosso di Helm e la carica dei Rohirrim nei campi del Pelennor restano momenti iconici del cinema fantasy contemporaneo. Nuovi percorsi creativi Dopo il successo mondiale della trilogia, Jackson ha diretto King Kong nel 2005 e, successivamente, la trilogia di The Hobbit, uscita tra il 2012 e il 2014. Negli ultimi anni il regista ha dedicato grande attenzione al cinema documentario con progetti ambiziosi basati su materiali d’archivio. They Shall Not Grow Old (2018) ha riportato alla vita immagini della Prima guerra mondiale grazie a un complesso processo di restauro e colorazione. La miniserie The Beatles: Get Back ha ricostruito la lavorazione dell’album Let It Be attraverso decine di ore di materiale inedito. La presidente del Festival Iris Knobloch ha definito Jackson “un cineasta di creatività inesauribile che ha dato prestigio al genere fantasy”. Il delegato generale Thierry Frémaux ha sottolineato che esiste “un prima e un dopo Peter Jackson” nel modo di concepire il grande spettacolo cinematografico. The post Peter Jackson riceverà la Palma d’Oro onoraria al Festival di Cannes 2026 appeared first on Fred Film Radio.