Radio broadcast: December 1, 2020.
Cinephiles! This week’s show on all things cinema, Big FRED Tuesday, hosted by yours truly for FRED Film Radio, is a special Torino Film Festival edition. The prestigious Italian film fest moved online in response to the coronavirus pandemic and over the course of the show, I chat with some of the filmmakers who presented features in its official competition.
The first guest is Joao Paulo Miranda, whose film Memory House is an exploration of the clash between modernity and tradition in contemporary Brazil.
Next up, we have an extensive chat about Braden King on his first movie in nearly a decade: The Evening Hour, about a young man who sells spare medication on the side in a fading village in Appalachia. I rarely record interviews that near 30 minutes for the show unless the conversation is particularly interesting. And I must say that this one definitely was.
Aside from talking about The Evening Hour, King talked about the things that prompt him to take on cinematic projects. We refer to New German Cinema legends Werner Herzog and Wim Wenders, both of whom are influences of his, in their adventurous nature and the latter’s belief that the camera is a weapon against the tragedy of things disappearing.
The third guests of the show are Arie Esiri and Chuko Esiri, the brother team behind the Nigerian feature This Is My Desire. The theme of migration is often explored in world cinema but rarely from the point of view of those about to leave. This film does just that in a wonderfully observant and profoundly human way.
Last but not least, Eugen Jebeleanu talks about his debut feature Poppy Field. The film draws on the LGBTQ rights in Romania via the inner struggles to a young gendarme struggling to confront his own homosexuality. Romania has been releasing some of the finest movies of the 21st-century and this feels like a worthy addition to the second generation of Romanian New Wave repertoire.
So, a very dense and intense Torino Film Festival episode of the Big FRED Tuesday. I have been informed that there is a version without music currently available on various media streaming platforms now so that you won’t have to endure the awful usual music curation that I have nothing to do with.
If I get enough feedback, I may consider editing a version of the BFT with my own music in the future. Maybe as exclusive content? We’ll see. But for now, enjoy the film conversation and as usual, I wish you well in your own cinematic ventures!