Cinephile! This week’s episode of the Big FRED Tuesday, my weekly show on FRED Film Radio on all things cinema, is the second-last of the year. It is getting increasingly difficult to get people to reply to my emails. As such, it is getting difficult for people to agree on an interview time pronto as well. However, I’m not in full Christmas mode yet.
I bring you this week two brand new interviews with two different filmmakers who have presented their latest works at the Cairo International Film Festival.
One is Mayye Zayed, whose documentary Lift Like a Girl observes an outdoor gym in Alexandria where the larger-than-life Captain Ramadan trains a group of young female weightlifters. Who said that men were the only ones who like to lift big heavy things?
The other is Amir Ramses, whose new fiction film, Curfew, tells the tale of a daughter meeting her estranged mother, fresh out of prison. Through this story, the director also addresses some taboos in Egyptian society. It’s also worth saying that Ramses is the artistic director of another major film fest in Egypt in El Gouna.
With 2020 coming to a close, I take the time to celebrate the legacy of one of arguably horror’s first cinematic masterpiece: The Cabinet of Dr. Caligari. Robert Wiene’s film was released in 1920 and celebrated its centennial this year. It is regarded as the quintessential German Expressionist film.
Also, over the week, Kim Ki-duk tragically passed away over the week due to coronavirus complications at just 59 years old. While I frown upon his free use of animal cruelty in his movies, the Korean filmmaker has consistently been one of the most distinctive voices of world cinema for the past decades. I’ve met him on several occasions and reply a part of my clip from 2015’s Karlovy Vary International Film Festival, where he presented his then-latest work, Stop.
Aside from all that, I have selected more topical interviews from FRED Film Radio’s archive. Some of them are about films that have recently won awards at the European Film Awards, including mine with Romanian director Alexander Nanau, Collective. I had completely forgotten that I had seen the film last year in Venice. I’m no longer surprised since I do so many interviews throughout the year.
See you next week. Don’t let the Christmas season bring you down!