FRED Film Radio - English Channel

At Focus London 2025, Fred Film Radio spoke with Alberto Battocchi, Film Commissioner at the Trentino Film Commission, about what a film commission really does today, why being present at Focus remains important, and how Trentino is balancing international ambition with local responsibility. Attracting Productions While Growing the Local Industry Battocchi described the role of a film commission as having two clear missions. On one side, he explained, is the work of attracting film and TV productions from outside the region, whether from elsewhere in Italy, across Europe or further afield. On the other is the responsibility to grow the local film industry, ensuring that professionals continue to develop their skills and that local producers are supported in taking their projects beyond regional borders. What Makes Trentino Distinct When talking about Trentino itself, Battocchi highlighted the region’s position in the very north of Italy, where Italian and continental European cultures meet. He explained that this gives filmmakers access to a wide variety of locations within a relatively small territory, from cities and castles to lakes, villas and public spaces. He also pointed out that many public locations can often be used free of charge, describing this as a practical advantage for productions. Being at Focus London, he added, allows him to meet producers and location managers face to face, exchange ideas with colleagues from other countries, and build relationships that simply aren’t possible remotely. Proud Projects, Green Film, and Looking Forward Battocchi spoke with particular pride about “Vermiglio” by Maura Delpero, shot entirely in Trentino and winner of the Silver Lion in Venice, describing it as a perfect collaboration between a sensitive director and the territory itself. He also mentioned a major Netflix series currently shooting in Trento, drawn to the city’s Christmas market and seasonal atmosphere. Beyond individual productions, he highlighted Green Film, the sustainability certification system Trentino launched in 2017, which has since been adopted by many other regions and has certified more than 300 projects. Looking ahead, Battocchi said his personal wish is to see more high-quality European co-productions choosing Trentino, believing strongly in the power of collaboration to allow one region’s culture and landscapes to reach audiences across Europe. – – – This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency. The post Interview with Alberto Battocchi, Film Commissioner at the Trentino Film Commission at Focus London 2025 appeared first on Fred Film Radio.

At Focus London 2025, Fred Film Radio spoke with Simone Gandolfo, President of the Valle d’Aosta Film Commission, about the fundamentals of a film commission’s role, what sets the region apart, and why in-person markets remain vital to the industry. A Hands-On Role at the Heart of Production Gandolfo explained that Valle d’Aosta Film Commission operates very practically, managing its own regional fund alongside national incentives and tax credits. The commission can provide up to €300,000 per production, but he stressed that financial support is only part of the job. Just as important is acting as a direct interface between productions and the territory, supporting everything from location scouting to permits for public and private spaces, and working closely with local authorities to make filming as smooth as possible. Extreme Landscapes and Unexpected Scale Pitching Valle d’Aosta, Gandolfo leaned into the region’s compact but dramatic geography. Within an hour’s drive, productions can access 4,000-metre-high mountains, castles spanning multiple centuries, Roman archaeological sites and highly skilled local crews used to working in extreme environments. He spoke proudly about the region’s ability to host everything from intimate indie projects to large-scale European co-productions at altitude, while also being within easy reach of major cities when needed. From Cannes to Blockbusters — and Looking Ahead Reflecting on recent highlights, Gandolfo pointed to “The Eight Mountains (Le otto montagne)”, which played at Cannes in 2023, and the internationally successful TV series “Rocco Schiavone”, which continues to sell strongly in the US and across Europe. He also referenced past large-scale productions, including “Avengers” and “House of Gucci”, describing the region’s approach as one of balance — supporting blockbusters, TV, documentaries and European indie cinema side by side. Looking ahead, Gandolfo highlighted strong green, HR and diversity protocols already in place, expressed optimism about AI as a tool if handled responsibly, and, on a more playful note, revealed his personal wish to welcome Darren Aronofsky or even an HBO-scale fantasy series, insisting that Valle d’Aosta could easily double for something on the scale of “Game of Thrones”. – – – This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency. The post Interview with Simone Gandolfo, President of Valle d’Aosta Film Commission at Focus London 2025 appeared first on Fred Film Radio.

The Berlin International Film Festival has announced that Wim Wenders will serve as President of the International Jury of its 76th edition. The festival, scheduled to run from February 12 to 22, 2026, will see one of Germany’s most internationally recognised filmmakers return to his hometown in an official role central to the Competition. Commenting on the appointment, Berlinale Director Tricia Tuttle stated, “Wim Wenders is one of the most influential voices in international cinema. For six decades, he has made films that move and delight us with their humanity and sense of wonder. His insatiable curiosity and deep mastery of film language are evident in every work, whether he is exploring the gifts of other artists or illuminating our own search for meaning and connection. To say we are proud of this homegrown polymath is an understatement, and we cannot wait to see where jury president Wim Wenders leads our jury in picking the Golden and Silver Bear winners of the 76th Berlinale”. A Career Shaping Contemporary Cinema Emerging in the early 1970s as a key figure of New German Cinema, Wim Wenders helped redefine German film’s identity at a crucial historical moment. Early works such as The Goalkeeper’s Fear of the Penalty (1972), Alice in the Cities (1974), Kings of the Road (1976) and The American Friend (1977) established a new cinematic language, grounded in movement, geography and existential inquiry. In parallel with his filmmaking activity, Wenders played a structural role in the industry. In 1971, he co-founded Filmverlag der Autoren, and in 2003, he became a founding member of the German Film Academy. His involvement with the European Film Academy, which he co-founded and later presided over for more than twenty years, further positioned him as a central figure in European cinema. International Milestones and Artistic Curiosity Wim Wenders’ filmography includes several landmarks of world cinema, from Paris, Texas, winner of the Palme d’Or at Cannes in 1984, to Wings of Desire (1987), a film inseparably linked to Berlin. Titles such as Until the End of the World (1991), Faraway, So Close! (1993) and the documentary Buena Vista Social Club (1999) illustrate the breadth of his work across genres and continents. More recently, Wenders returned to critical and public attention with Perfect Days (2023), which earned an Academy Award nomination, and Anselm (2023), a 3D documentary portrait of artist Anselm Kiefer. His continued exploration of new technologies was already evident in Pina, which premiered in Competition at the Berlinale in 2011 and was awarded Best Documentary at the German Film Awards. A Longstanding Relationship with the Berlinale Wenders’ connection to the Berlinale is longstanding and multifaceted. Beyond Pina, he has presented several films at the festival, including The Million Dollar Hotel, which opened the 2000 edition, and Everything Will Be Fine (2015). He was also actively involved in the early years of the Berlinale Talent Campus, now Berlinale Talents. In 2015, the festival honoured him with the Honorary Golden Bear for lifetime achievement, accompanied by the screening of seven restored versions of his films. Wenders on His Role as Jury President Reflecting on his appointment, Wim Wenders said: “It never hit me to even remotely think about being jury president in my hometown until Tricia Tuttle asked me. And then I realised: Wow! That’ll be a whole new way to see films at the Berlinale, for once watch each and every one in the Competition and discuss them all in-depth with a group of intelligent and movie-loving people. How good can it get? I’m grateful to Tricia to invite me to this rare experience.” Towards the 76th Berlinale As Jury President, Wim Wenders will chair the International Jury, which will award the Golden and Silver Bears. The Award Ceremony will take place on February 21, 2026, concluding a Berlinale edition that places continuity, cinematic heritage and international dialogue at its core. The post Wim Wenders Appointed Jury President of the Berlinale 2026 appeared first on Fred Film Radio.

At Focus London 2025, Fred Film Radio spoke with Jacopo Chessa, Director of the Veneto Film Commission and President of the Italian Film Commissions Association, about Italy’s film commission system, Veneto’s recent screen successes, and why international collaboration is now central to the industry. How Film Commissions Work — and Why Italy Attracts Productions Jacopo Chessa explained that Italy’s film commissions operate at a regional level, with all 20 regions offering public support to film and TV productions. This includes funding, permits and infrastructure, with around €80 million in regional funding available each year nationally, on top of national incentives. A key aim, he stressed, is attracting international productions while working collaboratively across regions rather than competitively. Veneto on Screen: Venice, Festivals, and Global TV Focusing on Veneto, Jacopo Chessa described Venice as both a global brand and a challenging place to film, requiring experience and careful planning. He outlined the region’s €6 million annual fund, supporting up to 50% of local costs, and reflected on a wide mix of recent projects. These ranged from Cannes-selected “Le città di pianura (The Last One for the Road)” and Venice competition title “Duse”, to large-scale productions such as “Dune: Part Two”, “FBI International” and “Emily in Paris”. On the TV side, he also highlighted “Stucky”, affectionately describing it as a Venetian take on “Columbo”. Green Film, Focus London, and Looking Forward Chessa spoke about sustainability initiatives, including the adoption of the Green Film protocol and an upcoming international training programme to develop green managers for film sets. He described Focus London as a particularly useful, location-driven market and highlighted the newly signed agreement with the British Film Commission as a practical first step towards deeper collaboration. Looking ahead, he emphasised the need for stronger organisation, international presence and better communication around contemporary Italian cinema, noting with pride that Veneto had enjoyed a standout year across major festivals. – – – This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency. The post Interview with Jacopo Chessa, Director of Veneto Film Commission and president of the Italian Film Commissions Association at Focus London 2025 appeared first on Fred Film Radio.

At Focus London 2025, Fred Film Radio spoke with Stefania Ippoliti, Director of the Toscana Film Commission, about the evolving role of film commissions, what Tuscany continues to offer productions, and why international collaboration feels more important than ever. Making Tuscany Work for Productions Ippoliti described the core role of a film commission as welcoming productions from Italy and abroad and helping them navigate everything from permits to local systems they may not be familiar with. While Tuscany is already a globally recognised brand for its culture and landscapes, she stressed that a key part of the commission’s work is making it genuinely easier for producers to set up and shoot in the region. Alongside financial support, this includes acting as a bridge between international working habits and local realities, helping productions feel “at home” while filming. From Romance to Railways Talking about the kinds of stories drawn to Tuscany, Ippoliti noted the continued popularity of romantic narratives, particularly for platforms, often centred on characters from different cultures meeting in the Tuscan countryside. At the same time, she highlighted a broad mix of productions, including documentaries, unscripted work and TV series. Among the projects she mentioned with particular pride were the series “The Monster of Florence”, which revisits a traumatic chapter of local history, and “Jay Kelly” by Noah Baumbach, shot in Tuscany in part because of the region’s unique railway depots housing historic trains. These less obvious assets, she explained, are just as important as Tuscany’s famous cities and landscapes. Focus London, the Future, and a Personal Wish Ippoliti described her return to Focus London as especially meaningful this year, highlighting the newly signed agreement with UK institutions and Tuscany’s long-standing cultural ties with British creatives. She spoke about the potential of stronger UK-Italy collaboration, particularly as a bridge to the American market. Looking ahead, she expressed less concern about AI than about global political instability and its impact on cultural industries, stressing the importance of continuing to support film as both a cultural and economic sector. Ending on a lighter note, Ippoliti shared her personal wish to work more closely with Shonda Rhimes, praising her as a powerful creative entrepreneur and jokingly suggesting a “Tuscany-style” take on “Bridgerton”. – – – This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency. The post Focus London 2025, interview with Stefania Ippoliti, Director of Toscana Film Commission appeared first on Fred Film Radio.