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Interview with filmmaker Charlie Shackleton at Documenta Madrid 2026

This interview explores the creative journey behind some of Charlie Shackleton‘s most acclaimed works and offers invaluable insights into the art of storytelling, with a twist. What happens when you create new works from existing footage or when things don’t go according to plan? We talk to the winner of the NEXT Innovation Award at last year’s Sundance, while in Spain for a retrospective of his work as part of this year’s Documenta Madrid [https://www.documentamadrid.com/en]. THE ART OF RE-TELLING STORIES Charlie Shackleton’s work is characterised by a deliberate exploration of form and content. Whether creating a film that exists as a single 35-millimetre print by constructing an intricate collage of archival footage or a documentary based on a failed film project, his work challenges traditional cinematic boundaries. In this interview, he emphasises the importance of fragility and impermanence, characteristics that add a poetic layer to his creations. This innovative mindset turns each film into a reflection on mortality, time, and memory, inviting viewers to reconsider the meanings of cinema. AN INNOVATIVE APPROACH TO FILMMAKING Charlie Shackleton‘s approach often involves working within constraints, which paradoxically fuels creative innovation. For example, “The Afterlight” (2021), one of the films shown at Documenta Madrid, exists as a single 35mm print that deteriorates with each screening, inevitably leading to its eventual disappearance. This emphasises the fleeting nature of existence and of the art object, making every viewing a unique experience. This dedication to experimentation cements his reputation as a visionary in contemporary filmmaking. This feature-length experimental film is a collage composed of hundreds of fragments from early 20th-century fiction films from around the world. The piece delves into the archival and fragile nature of film history, highlighting the importance of preservation and the passage of time. WHEN A FAILED FICTION FILM PROJECT BECOMES A DOCUMENTARY Another notable film selected for Documenta Madrid this year is “Zodiac Killer Project” (2025).  When Charlie Shackleton found out that the true-crime documentary film he had been working on for years would never be made because clearing the rights to the book it was based on was impossible, he was frustrated but decided to make a documentary about his experience instead.  Consisting of a series of long takes on would-be film locations, fragments from various true-crime TV series, Charlie Shackleton‘s voiceover (and some behind-the-scenes footage), the film is a humorous account of the process of making a true-crime documentary that ultimately never materialised. By blending elements of documentary and video essay, the film critiques genre conventions while maintaining a personal and reflective tone. Another example of how his work consistently pushes the boundaries between traditional filmmaking and experimental media, showcasing their versatility and depth as a filmmaker. The post Interview with filmmaker Charlie Shackleton at Documenta Madrid 2026 [https://www.fred.fm/documenta-madrid-2026-interview-with-filmmaker-charlie-shakleton/] appeared first on Fred Film Radio [https://www.fred.fm].

“Ulysse”, an interview with director Laetitia Masson and actress Élodie Bouchez

Seasoned French director Laetitia Masson is back in the Un Certain Regard section of the Cannes Film Festival 2026– she was already selected in that strand back in 1998 with her second feature film, “For Sale” – with an extremely personal film, “Ulysse”, which follows the trajectory of Alice (Élodie Bouchez), a mum whose son Ulysse has a genetic condition which will inevitably alter his capacities and possibilities in life, but doesn’t entirely preclude a certain degree of autonomy, with the dedicated help of his parents. It is this hope which carries Alice through the endless round of  visits with many different therapists, special schools, or institutions we see her power through over nearly twenty years, driven by her motherly love, when even her pianist husband (Stanislas Merhar) has taken some distance (the length of a whole ocean, to be more specific). We met with the director and her main actress to discuss the very special endeavour that was making this film, also starring her own son Alphonse Roberts as the eldest Ulysse. LAETITIA MASSON ON TURNING HER OWN STORY INTO A FILM “Because this is my story, I didn’t have to do research, as it usually goes. So I had all this life experience, but the question was how to make a real film from it, not just to tell your story or complain or whatever. I hate films which just tell the real story and that’s all : that doesn’t make a good film. I had to see where the cinema was in the story, and I thought the cinema was there because it is all a question of the look you have upon things, upon human beings, and when you change the look, you change life.” ON THE MOTHER’S JOURNEY AS A CRUSADE, AND HER AS A FIGHTER AND A TRANSLATOR “For this movie, I thought it was important to present it as a crusade because I didn’t want to just tell my small story. I wanted to tell a tale that could reflect all destinies, so I wanted to show a learning journey, something you have to go through until you see the light.’ Although Masson sees her character as fighting for more than her own child, and thought of Erin Brockovich as a reference, she also says, ‘she’s not a fighter in the end, she’s just the translator of her child. As a movie, it’s the story of the child, but you can only read it through the mother, because of the singularity of that child. She’s the one you can understand everything through.” ON CHOOSING ÉLODIE BOUCHEZ FOR THE ROLE OF ALICE “As soon as I knew she was going to be the mother, it meant I wouldn’t have to do that part of the work. I knew I could completely trust her, and for me it was essential, because I was able to focus on the children.” ACTRESS ÉLODIE BOUCHEZ ON WORKING WITH DIFFERENT CHILDREN OF DIFFERENT AGES “It’s not easy to work with children, but it was also touching, and not only that, it was also inspiring, even though sometimes it was difficult because we were trying so hard, with some of them, to have them do the things that had to be done for the needs of the scene, so for me, it was like a dance, because I had to be inside, outside, inside, outside, so sometimes I was getting frustrated, because I wasn’t sure I gave my best, because I wasn’t focused on myself, but at the same time it was a good lesson because I was really in the present moment. […] I really let myself float with each of them, even the tiny one, so it was a one-of-a-kind experience, that’s for sure.” The post “Ulysse”, an interview with director Laetitia Masson and actress Élodie Bouchez [https://www.fred.fm/ulysse-an-interview-with-director-laetitia-masson-and-actress-elodie-bouchez/] appeared first on Fred Film Radio [https://www.fred.fm].

“Orange-Flavoured Wedding”, an interview with actress Adèle Exarchopoulos

Cannes loves Adèle Exarchopoulos; that’s no secret. Ever since the seminal moment that was the Palme d’Or she received in 2013, alongside Abdellatif Kechiche and her colleague and friend Léa Seydoux, for “Blue Is the Warmest Colour”, the French actress has climbed the famous steps of the Palais des Festivals almost every year. At this 79th Cannes Film Festival 2026, she’s there with two films: the Competition entry “Another Day” by Jeanne Herry, in which she plays the title role, and Christophe Honoré’s new ensemble gem, “Orange-Flavoured Wedding”, screened in the Cannes Première section. In this film, set in Nantes in 1978, the filmmaker directly evokes his maternal family (reprising the characters — now played by other actors, such as Paul Kircher, Vincent Lacoste, Nadia Tereszkiewicz, Alban Lenoir and Malou Khebizi —  from an autobiographical play staged in 2021, Le Ciel de Nantes) as he orchestrates the tumultuous, boozy wedding of one of the children of a large clan that includes the hypersensitive, semi-depressive Claudie, one of the groom’s sisters — the part which was entrusted to Exarchopoulos. The actress says she naturally found a fine chemistry with the other performers during prep and on those Paris–Nantes train rides. ON THIS FIRST COLLABORATION WITH CHRISTOPHE HONORÉ “I obviously knew Christophe Honoré’s cinema very well, but the screenplay felt a lot like a stage play. There was something almost hard to stomach about it, it was full of very lengthy stage directions, no dialogues. The themes addressed it in were clear, but you could tell there would be lots of room left for improvisation, so I called Vincent Lacoste, who’s a friend […], and he said, “Do it, follow me! He’s a great director!” And that was confirmed straight away — I wasn’t disappointed in the slightest!” ON HER CHARACTER’S DEPRESSIVE STATUS, THE WAY WOMEN USED TO BE AND STILL ARE TREATED, AND VIOLENCE WITHIN THE FAMILY “I don’t think her depression comes from somewhere specific. She’s just one of those women whose freedom and desire were too much for the era, and who were immediately deemed dangerous to society […], so it was fairly easy for me to identify with her. […] Ultimately, the film’s subject is trauma: this whole family was abused, and this whole family is in the process of repeating the same pattern and abusing others — be it their wives, their children, their sisters… In the 70s, domestic violence was completely normalised, and so was violence against women, and today we’re barely at the dawn of a real reckoning with mental health, women’s mental load, their place in the home, violence within the family unit. It’s starting to evolve a little, but I think there are still big actions pending that ought to be more political and institutional.” A SOFT SPOT FOR SUPPORTING ROLES “I love supporting roles. Of course, I love leads too, but I find there’s a freedom and a need for boldness in supporting parts – I’m thinking of “Mandibles” in particular.. As a viewer, too: I have big, deep-seated memories of supporting characters that truly moved me. […] It’s a bit like in life, supporting roles: they’re people who pass through, but you never forget them.”   The post “Orange-Flavoured Wedding”, an interview with actress Adèle Exarchopoulos [https://www.fred.fm/orange-flavoured-wedding-an-interview-with-actress-adele-exarchopoulos/] appeared first on Fred Film Radio [https://www.fred.fm].

Sydney Film Festival, interview with festival director Nashen Moodley

A CELEBRATION OF GLOBAL CINEMA EXCELLENCE Sydney Film Festival Director Nashen Moodley presents the line up of the 73rd edition of the festival [https://www.sff.org.au/], a long-standing platform for both emerging and established filmmakers, that will showcase over 250 films from more than 81 countries. As one of Australia’s most anticipated cultural events, it offers cinephiles a unique glimpse into the year’s most compelling films in an inclusive and dynamic environment, highlighting innovative narratives, bold cinematic voices and the vibrancy and diversity of contemporary filmmaking. The Sydney Film Festival has become a cornerstone of Australia’s cultural calendar, drawing audiences eager to explore innovative stories from around the world. This year’s edition features 20+ world premieres, numerous Australian premieres, and films that push the boundaries of traditional storytelling. Its flexible programming goes beyond conventional festival formats by adding films right up to the opening day, creating an element of surprise and excitement for the audience. A COMMITMENT TO ARTISTIC EXPRESSION AND INCLUSION “TO REMAIN VIGILANT ABOUT OUR OWN RIGHTS AND FREEDOMS”, FESTIVAL DIRECTOR NASHEN MOODLEY The Sydney Film Festival embraces the vital role of cinema in reflecting societal issues and fostering dialogue. The festival’s opening film, “Silenced,” directed by Selena Miles, exemplifies this approach by addressing themes of human rights and activism that resonate deeply in today’s political climate. Additionally, its “Europe Voices of Women in Film” section continues to promote gender parity by spotlighting talented female and gender queer directors from across Europe. This focus underscores the festival’s dedication to supporting diverse voices and encouraging films that challenge norms and inspire change. Throug the work of its director Nashen Moodley [https://www.fred.fm/nashen-moodley-festival-director-sydfilmfest-2/] and his team, Sydney Film Festival remains a vital showcase for pioneering cinema that combines artistic daring with social relevance. Its commitment to present bold, innovative, and inclusive films cements its role as a leading festival within the global film community. Audience can expect a rich program that not only entertains but also educates and provokes thought, reaffirming the festival’s status as a key event for lovers of passionate and courageous cinema worldwide.   The post Sydney Film Festival, interview with festival director Nashen Moodley [https://www.fred.fm/sydney-film-festival-interview-with-festival-director-nashen-moodley/] appeared first on Fred Film Radio [https://www.fred.fm].

“Diary Of A Chambermaid”, interview with director Radu Jude

We discover a unique insight into everyday life through “Diary of a Chambermaid”, by Radu Jude [https://www.fred.fm/radu-jude-bad-luck-banging-or-loony-porn-berlinale2021/], presented at Cannes 2026 Film Festival [https://www.fred.fm/festival-de-cannes-2026-cristian-mungiu-wins-the-palme-dor-for-fjord/]. The film  blends theatre and fiction to explore the unseen struggles of ordinary people. This captivating film offers a fresh perspective on stories that are often overlooked in our modern societies, as the director told us in our chat. A JOURNEY INTO THE DIARY OF A CHAMBERMAID The film draws inspiration from the “Diary of a Chambermaid” to portray the lives of women in domestic service within a contemporary context. By incorporating elements from Octave Mirbeau’s novel, which the film is inspired by, the director aims to offer social commentary whilst redefining the portrayal of the characters. The narrative is fragmented into short scenes, juxtaposing everyday life with theatrical moments, thus creating a heterogeneous blend of images and emotions. This narrative choice serves to highlight the complexity and diversity of personal experiences. THE INNOVATIVE USE OF THEATRE AND EDITING The film adopts a bold formal approach, incorporating theatrical moments to accentuate the authenticity of the dialogue and situations. The director relies on an editing technique inspired by Eisenstein, aiming to juxtapose different elements to create new sensations and reflections. The theatrical moments, chosen with precision and avoiding improvisation, are woven into the narrative to highlight the disconnect between appearance and reality, evoking the notion that theatre represents the true essence of life, according to Jacques Rivette [https://www.fred.fm/venice-82-official-lineup-announced/]. PLAYING WITH TIME AND SPACE The narrative structure adopts a chronological division by days, marked on screen, with sequences of varying lengths. This instinctive approach aims to give the impression of a sketched fresco, where each scene becomes a possibility or a potential for other stories. The abrupt cuts and the rapid pace of the scenes reflect a fragmented and unpredictable life, inviting the viewer to perceive the complexity of human relationships and the subtlety of power dynamics, particularly within the film’s social and family context. The film explores the banality and depth of invisible lives. Its plot, formal choices and temporal divisions reinforce the idea that reality is made up of multiple possibilities, where every interaction harbours a silent tension. The richness of this cinematic work invites reflection on the representation of individuals and their daily lives, confirming that a cleaning lady’s diary is, above all, a mirror of our own lives, full of unrealised potential. The post “Diary Of A Chambermaid”, interview with director Radu Jude [https://www.fred.fm/diary-of-a-chambermaid-interview-with-director-radu-jude/] appeared first on Fred Film Radio [https://www.fred.fm].