BIG FRED TUESDAY – Radio Cinema Broadcast #26 (FRED.FM)

Cinephile! 2021 has started with just as much chaos as 2020 ended. Are we surprised? Here’s hoping those vaccines can provide us with that magic serum to resume turning the cogs in the machinery of our lives. How am I doing? After the holidays, I’m quite eager to return to recording conversations with film people from all four corners of the globe.

And with all the political turmoil of recent times, I felt it was important to focus on industry initiatives and showcase events for this inaugural episode of the BIG FRED TUESDAY. That’s because I wanted to honor the people who support filmmakers and producers, and encourage wider representation and cultural exchange through the cinematic art form.

We begin with Ilaria Gomarasca, who aside from being a good friend of this station is also the head of First Cut+, a program supporting filmmakers and their projects from Central and Eastern Europe. Then, we meet Dasha Korol, co-producer of Russian Film Week USA. This annual event showcases Russian cinema and, in the process, offers an excellent opportunity for cultural exchange between two countries with a strong history of hostilities.

Finally, I also recorded a conversation with Nicoletta Romeo, co-director of the Trieste Film Festival, also happening online this year and organized in a city in Italy that is actually a significant meeting point between the “Eastern World” and the “Western World.”

With a new year comes a fresh batch of centennials to be aware of. So, I take the time to list a few film greats whose 100th anniversary we celebrate throughout 2021. In addition and as usual, I also handpicked some interviews from the fabled FRED archive and shared some news about the upcoming International Film Festival Rotterdam, in the Netherlands, and the Academy Awards.

I also remind you that, unfortunately, the music curation is not mine. One day, I will be able to produce and host a show that will represent a type of alternative attitude I have to what has become the norm for art promotion at large – either very commercial or rather snobbish. My ideal show should sound like it was produced by Joe Strummer, who knew a thing or two about revolution. After all, that is what art is to me!

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