FRED Film Radio - English Channel

“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].

“The Birthday Party”, an interview with actors Benoît Magimel and Bastien Bouillon

Actors Benoît Magimel and Bastien Bouillon tell us more about Léa Mysius’ “The Birthday Party”, presented in competition [https://www.festival-cannes.com/en/2026/lea-mysius-captures-the-weight-of-secrets-in-histoires-de-la-nuit-the-birthday-party/] at the 79th Cannes 2026 Film Festival 2026. After “Ava” (premiered in the Critics’ Week section in 2017) and “The Five Devils” (Directors’ Fortnight, 2022), for this atypical claustrophobic chamber piece set on a farm that also houses a painter’s studio, the talented French screenwriter-director has assembled a terrific ensemble cast also including Hafsia Herzi in a pivotal role, Monica Bellucci [https://www.fred.fm/beetlejuice-beetlejuice-interview-with-actors-monica-bellucci-and-willem-dafoe/], and Paul Hamy [https://www.fred.fm/pascal-greggory-paul-hamy-9-fingers-locarno70/]. Our talk with Bouillon, who plays Herzi’s character’s husband, and Magimel, who embodies an ambiguous, scary party-crasher, was as friendly and relaxed as Mysius’ thriller is intense and disturbing. After evoking the motif of the past coming back to haunt you, a central theme of the film, Benoît Magimel tells us more about how he approached his mysterious character from a screenplay perspective, since he considers the script as ‘living matter’ and wanted, for this character in particular, to understand clearly where he comes from by imagining his back story and what brings him to that birthday party, on that fateful night. “Léa Mysius and I reworked the screenplay, because it seemed important to me to say more about his past with this woman, to bring in more context, and above all I wanted to talk about the prison environment and about what confinement can do to a man, how much it can damage him. And I also wanted to tell that story to this child, because he can’t just turn up thinking he will be able to build a relationship with her like this, so he had to speak his truth, and lay himself bare. That seemed important to me, but initially, it wasn’t really present in the script”. On the question of what each of them tends to look at first in a screenplay, Bastien Bouillon [https://www.fred.fm/a-pied-doeuvre-interview-avec-la-realisatrice-valerie_donzelli-et-lacteur-bastien-bouillon/] (whose breakout film was the mindblowing “The Night of the 12th” by Dominik Moll) says, “First off, it’s not my own part, it’s something more general. It’s the project I feel I can see in there, maybe understand a little – because of course, you never know what it’s going to become, what the final film will be like exactly. Then there’s also the human factor, but in any case [I always consider the project in its] entirety”.  The actor relies heavily on his instincts. “I couldn’t put it in words, but there are places where I won’t go”. He clarifies by mentioning projects ‘claiming to be political’, when it’s really just posturing. For Benoît Magimel, “what really counts is first and foremost the director, to the point that sometimes, the screenplay becomes very secondary. I also like discovering things, I like characters that have contradictions – that’s what I really enjoy, above all. And the issues at stake. And yes, the human aspect, possibly a sense of urgency, etc”.  The seasoned thespian – crowned Best Actor in Cannes back in 2001, for his performance in Michael Haneke’s “The Piano Teacher”, very impressive in the more recent “Pacifiction”, by Albert Serra, and “The Taste of Things” by Trần Anh Hùng, which both competed in Cannes, where Magimel is showing, this year, not only Léa Mysius’s film but also Antonin Baudry’s “La Bataille De Gaulle : L’Âge de fer” in the Out of Competition strand – adds that he likes to feel ‘like I’m taking a risk, like I have something to defend’. WE TALK AT LENGTH ABOUT THE COMPLEXITY OF ALL THE CHARACTERS IN “THE BIRTHDAY PARTY”, AND ABOUT THE IMPORTANCE OF THE BACKSTORY “Léa, Bouillon explains, has the great quality – in all her films, and in this one in particular – of never creating a single role that doesn’t have a soul. On set, I found her very present at all times, to remind me of that soul and of what’s moving in the scene at hand. She gives you space while also being very precise, and indeed, as Benoît put it very well when he was talking about the characters’ backgrounds, in this film, everything needed to feel loaded. I think that this is also why Léa managed so well to make the viewer feel like time is expanding, in certain scenes, whereas with this type of claustrophobic chamber piece, one may be tempted to favour efficiency”. Our conversation also addresses the inevitable surprises in store for the actors on the set of such a ensemble ‘drama behind closed doors’ bringing together such a fine group, each gifted with a role with real depth, especially one that revolves around a surprise party and throughout which the audience never knows who is who, what is going to happen, how much is planned and how much is slipping out of control. The post “The Birthday Party”, an interview with actors Benoît Magimel and Bastien Bouillon [https://www.fred.fm/the-birthday-party-an-interview-with-actors-benoit-magimel-and-bastien-bouillon/] appeared first on Fred Film Radio [https://www.fred.fm].