Fred Film Radio - The Festival Insider

“It’s never over: Jeff Buckley”, interview with director Amy Berg

Following its success at the Sundance Festival and the Rome Film Festival, “It’s never over: Jeff Buckley” comes to Italian cinemas as a special event, only on March 16, 17 and 18, sixty years after his birth. The film is directed by Oscar®-nominated filmmaker Amy Berg (Deliver Us from Evil, Janis: Little Girl Blue, West of Memphis) and co-produced by Brad Pitt. The most personal film “It’s difficult to imagine a time when I wasn’t attempting to make the Jeff Buckley doc. It’s been on my bucket list since I made my first film in 2006. And maybe, since I first heard Grace in 1994. It changed my life forever. It literally became the “tear that hangs inside my soul forever”. With these words Amy Berg implicitly reveals why It’s never over: Jeff Buckley is her most personal film among the numerous documentaries and features she directed along her filmmaker career. It has been a long road from 2007 to today — the year Amy Berg first met Mary Guibert, Jeff’s mother and custodian of the musician and songwriter’s archives. After exploring that sea of memories and listening to the audio of the last messages Jeff left on his mother’s voicemail, Amy Berg had no doubts: the documentary was the right path to restore Jeff Buckley and his musical, human and emotional legacy to the world. Mary Guibert wanted a fiction film to tell the story of her son’s life, and for years Amy Berg tried to convince her to change her mind, until she finally said yes. “I wanted Jeff to speak for himself” Berg has stated many times, and she stayed true to that goal with the documentary. The most important women in Jeff Buckley’s life “His story really comes alive when you sit with the three main women in his life and hear their stories and feel their pain. The film starts and ends with them because you get to know him through his music and these defining relationships” writes Amy Berg in her director’s notes. In this interview, the filmmaker explains why she felt that the best way to talk about Jeff Buckley  was not only through his music but also through the voice and the memories of the most important women in his life. A universal story Throughout his brief life, Jeff Buckley had to contend with the ghost of a father he met only once, yet who was also a music icon. Despite being aware of his own talent , which was neither derivative nor imitative of his father’s, Jeff Buckley was first a boy and then a man who had to fight hard to vanquish his inner demons and find his place in the world. The post “It’s never over: Jeff Buckley”, interview with director Amy Berg appeared first on Fred Film Radio.

“A Brief Affair”, interview with actress Valeria Golino

Speaking with Fred Film Radio at the Cinema Made in Italy Festival in London, Valeria Golino reflected on the rare moment of presenting four films in the festival’s programme: “A Brief Affair”, “Fuori”, “Gioia” and “Elisa”. The acclaimed actress described the experience as both exciting and slightly overwhelming, but also deeply rewarding after decades in the industry. Now at a stage in her career where she can choose projects she truly believes in, Golino said she still feels a genuine love for her work and remains grateful to continue exploring new roles. A changing industry for women Golino also spoke about the evolving opportunities for women in cinema. She noted that twenty years ago, it would have been far less common for an actress over fifty to be working as frequently as she is today. Instead, she finds herself taking on complex, vibrant roles rather than being limited to stereotypical parts. For Golino, this shift reflects a positive change within the industry, allowing women to remain creatively active well beyond what was once considered their “prime”. Seeking roles that challenge When choosing projects, Golino explained that she is drawn to roles that challenge and even unsettle her. Rather than repeating familiar territory, she looks for characters that make her uncertain about whether she can fully embody them. That sense of risk, she said, keeps the work exciting and prevents her from becoming bored with herself as an actor. Beyond good and evil Across the films she presents at the festival, Golino recognised a shared fascination with moral ambiguity. As an artist, she said she is interested in exploring characters and situations that exist beyond simple judgments of right and wrong. While she considers herself politically conscious as a citizen, her approach to art allows for greater freedom—an opportunity to examine difficult or uncomfortable aspects of human behaviour without moralising. The conversation also touched on “A Brief Affair”, directed by Ludovica Rampoldi, and “Fuori”, Mario Martone’s biographical film about writer Goliarda Sapienza. Golino revealed that she had known Sapienza personally as a young actor, later directing an adaptation of her novel “The Art of Joy” before ultimately portraying the writer on screen. The experience, she said, felt like completing a remarkable personal and artistic circle. Reflecting on her approach to playing real-life figures, Golino explained that she focuses less on imitation and more on capturing a person’s spirit-evoking gestures, memories and emotional traces that bring them back to life on screen. With four fascinating and distinct films showcased at the festival, Golino once again proves why she is such an icon and trailblazer in the industry, whose career in front and behind the camera continues apace. The post “A Brief Affair”, interview with actress Valeria Golino appeared first on Fred Film Radio.

“A Brief Affair”, interview with director Ludovica Rampoldi

At the Cinema Made in Italy festival at BFI Southbank, acclaimed Italian screenwriter Ludovica Rampoldi presented her feature directorial debut, “A Brief Affair”. Speaking to FRED Film Radio, Rampoldi discussed transforming a familiar story of love and betrayal into a psychological exploration of desire, identity and emotional growth. From screenwriter to director Known for her work on projects including “Gomorrah”, “The Traitor” and “The Bad Guy”, Rampoldi explained that the story for “A Brief Affair” had been with her for many years. Originally written in her twenties, she later revisited the script with a new perspective. “The questions of the story were still contemporary,” she said, “but the answers I had given felt moralistic. With time, your view becomes softer and kinder.” Reimagining the psychological thriller The film follows two couples whose lives become dangerously intertwined after a secret affair begins. What starts as a romance gradually evolves into a psychological thriller, drawing inspiration from classics such as “Fatal Attraction” while shifting the perspective toward the female character, often cast as the antagonist. Rampoldi also drew on theatrical influences, citing playwrights such as Edward Albee, Yasmina Reza and Harold Pinter, using intimate spaces to explore the complexity and ambiguity of human relationships. A story of self-discovery At its heart, the film becomes a journey of self-understanding for its protagonist, who enters the affair searching for answers about herself and her desires. “For me, what matters in the end is not whether the couples stay together or separate,” Rampoldi said. “What matters is that each character finds their own path and voice.” Presenting “A Brief Affair” in London as part of Cinema Made in Italy was, Rampoldi said, a great honour. After years working as one of Italy’s most respected screenwriters, she now hopes this debut marks the beginning of a new chapter behind the camera. The post “A Brief Affair”, interview with director Ludovica Rampoldi appeared first on Fred Film Radio.

“Primavera”, interview with director Damiano Michieletto

Damiano Michieletto spoke to Fred Film Radio at the Cinema Made in Italy festival in London about his feature debut “Primavera”, a historical drama inspired by Antonio Vivaldi’s work with the girls of a Venetian orphanage in the early 18th century. Based on Tiziano Scarpa’s novel “Stabat Mater”, the film follows Cecilia, a young violinist whose life is transformed when Vivaldi arrives as a teacher, sparking both a creative awakening and a deeper search for freedom. Music as the heart of the story Although the film explores Vivaldi’s origins, the opera director was keen to emphasise that “Primavera” is not a traditional biopic. Instead, the story unfolds through Cecilia’s perspective, exploring her struggle to imagine a future beyond the confines of the orphanage. For Michieletto, the themes of freedom, emancipation and self-discovery felt surprisingly modern, despite the 18th-century setting. Music plays a central role in that journey, functioning almost like a character in the film itself and reflecting the emotional connection between Cecilia and Vivaldi. Recreating the world of the orphanage Drawing on extensive historical research, Michieletto and his creative team aimed to capture the atmosphere of these Venetian institutions without turning the film into a strict historical reconstruction. Rather than filming in Venice, much of the film was shot in Rome, allowing the team to reinterpret the setting while staying faithful to the spirit of the place. The director was particularly interested in portraying the restrictive nature of life inside the orphanage, contrasted with the vibrant world outside — a world the girls can glimpse but rarely experience. Two artists connected through music At the heart of the film is the relationship between Cecilia and Vivaldi, played by Tecla Insolia and Michele Riondino. Michieletto described their connection not as a romantic one, but as the meeting of two lonely individuals brought together through music. Cecilia’s journey becomes one of discovering her own voice and identity, while Vivaldi’s presence helps unlock new possibilities in her life. The film also reflects on the enduring power of music itself, which Michieletto describes as something capable of creating empathy and emotional connection beyond words. Bringing “Primavera” to London as part of the Cinema Made in Italy festival was particularly meaningful for Michieletto, who has long associated the city with creativity, theatre and music. With the film set to receive a UK release, he expressed both excitement and curiosity about how British audiences might respond to its story. Ultimately, he hopes viewers will leave with a renewed appreciation for Vivaldi’s music, as well as the film’s central message about freedom, courage and the possibility of finding one’s own “springtime”, even in the most difficult circumstances. The post “Primavera”, interview with director Damiano Michieletto appeared first on Fred Film Radio.

“Three Goodbyes”, interview with director Isabel Coixet

Isabel Coixet spoke to Fred Film Radio at the Cinema Made in Italy festival in London about her latest film “Three Goodbyes”, an adaptation of stories by the late Italian writer Michela Murgia. Blending elements of humour, tenderness and melancholy, the film follows Marta and Antonio as their relationship reaches an unexpected turning point, becoming a meditation on love, mortality and what it truly means to be alive. Adapting Michela Murgia’s world The acclaimed Spanish filmmaker explained that “Three Goodbyes” draws from two stories in Murgia’s collection, which she combined into a single narrative centred on Marta and Antonio. Although the director never met Murgia, she immersed herself deeply in the writer’s world, speaking with friends, collaborators and family members to better understand her personality and perspective. For Coixet, the film also serves as a way of continuing Murgia’s presence, allowing new audiences to discover her writing through cinema. Finding humanity in difficult moments While the story deals with serious themes — including illness and the end of a relationship — Coixet was keen to maintain a tone that reflects the contradictions of real life. Even in the darkest situations, she noted, moments of humour and absurdity inevitably appear. That balance is embodied by the performances of Alba Rohrwacher and Elio Germano, two of Italy’s most acclaimed actors, whose chemistry helps make the characters’ shared history believable even in the brief moments we see them together on screen. An intimate look at love and memory Visually, Coixet opted for a more intimate style, shooting on 35mm and framing the film in a 4:3 format to avoid turning Rome into a postcard backdrop. Instead, the focus remains tightly on the characters and their emotional journey. Through small flashbacks and fragmented memories — sometimes evoking the texture of old home movies — the film captures how people remember past relationships and the lingering emotions that come with them. Presenting “Three Goodbyes” in London as part of Cinema Made in Italy offers Coixet the chance to see how the film resonates with international audiences. While she believes the story is one of the most universal she has made, she is curious to see how British viewers respond. Ultimately, she hopes audiences leave the cinema with a renewed awareness of life’s fragility — and the reminder that, as she puts it, life is short and the only thing we truly have is the present moment. The post “Three Goodbyes”, interview with director Isabel Coixet appeared first on Fred Film Radio.