“Black Money for White Nights”, interview with directors Kristina Grozeva and Petar Valchanov

“Black Money for White Nights”, interview with directors Kristina Grozeva and Petar Valchanov

Kristina Grozeva and Petar Valchanov bring their fifth feature film [https://www.kviff.com/en/programme/film/84/50251-black-money-for-white-nights] to the main competition of the Karlovy Vary Film Festival 2026, where they won the Crystal Globe for The Father in 2019. With Black Money for White Nights, the Bulgarian directing duo, also known for their ‘newspaper clippings’ trilogy, which started with their internationally acclaimed debut 2014 The Lesson (followed by Glory in 2016 and completed with “Triumph” in 2024), they offer the type of cruel social satire they have become known for – paired with a moral tale where money plays a major role, and a breathless race from one hurdle to the next, all the while running with scissors. At the centre of the film is the plight of a nearly retired married couple (played by Tanya Shahova and Ivan Savov), who have become infected by a lifetime spent living in a corrupt society where deceit is part of daily life, and keep carrying outdated values inherited from the communist era into an indifferent capitalist world where they still get crushed by the old mechanisms they help perpetuate (by continuously scratching their backs, so to speak). BUILDING CONTRADICTION INTO THE TITLE On the strange sense of balance suggested by the title of the film, “it was very important for us to build this contradiction in the title,” says Grozeva, “because we hoped that this would reflect the mood of the whole movie. I think this contradiction contains both the tragedy and the comedy, the low and the sublime.” “The creative process behind the title was very important” and a key foundation on which to build the film, adds Valchanov, who points out that it is a distortion of the Bulgarian version of the phrase “saving money for a rainy day”, which talks about “saving money for a black day.” ON DECEIT AND RETRIBUTION On deceit and retribution, Kristina Grozeva explains: “They live in lies all the time and they pretend that everything is OK, but this way of living has a price, somehow, and they have to pay it.” As her partner-in-crime reveals, the way they balance the diverse set of values from which they operate was inspired by many people in real life. The film, he says, “is about this generation who has made it a part of their life during the communist period and then, after it, in the democratic period.” VICTIMS OF THEMSELVES “This system doesn’t allow you to have a dignity,” Grozeva points out, prompting Valchanov to also underline the fact that the couple at the centre of their film “are also victims of themselves.” “They mostly suffer because of their own decisions,” adds Grozeva. “We wanted to dig into the topic of corruption, but not only the corruption in the political or social sense – [we also wanted to talk about] this kind of inner corruption that puts black spots in our souls. Somehow, it felt very important to capture this moment when you corrupt your intimate world: your dreams, your marriage, even your relationship with God, everything.” NO CLICHÉS, NO SUPERFICIALITY On the well-roundedness and the many nuances of the characters, the directing duo insists that they “did not want to build clichés, or characters who are superficial. We wanted to build deep human beings with contradictions, and that is why we wanted to create this couple, so that they would be capable of love and tenderness, and at the same time of manipulation and deception.” A BREATHLESS RHYTHM On the relentless succession of catastrophic events depicted in the film: “It was very important for us to create this rhythm and build this sense of tension. We wanted the audience to feel their feelings.” The post “Black Money for White Nights”, interview with directors Kristina Grozeva and Petar Valchanov [https://www.fred.fm/black-money-for-white-nights-interview-with-directors-kristina-grozeva-and-petar-valchanov/] appeared first on Fred Film Radio [https://www.fred.fm].

David Boreanaz, interview with the actor guest to Italian Global Series Festival

David Boreanaz is one of the prominent actors participating in the Italian Global Series 2026, in Riccione. Our conversation was recorded to explore his reflections on acting, character development, and his perspective on one of his most iconic roles as Angel in “Buffy The Vampire Slayer“ during the festival’s second edition. THE IMPORTANCE OF CONTINUOUS LEARNING IN ACTING Boreanaz emphasizes the significance of ongoing education and self-reflection in his career. He reflects on the past year, noting that it’s essential to be patient with oneself and understand that the work invested today will bear fruit over time. His approach involves constantly nurturing his craft, seeking growth through repetition and new avenues, which prevent his from feeling trapped in a single role or character. SEIZING OPPORTUNITIES AND THE EVOLUTION OF LONG-TERM CHARACTERS During the interview, Boreanaz discusses the importance of seizing opportunities, emphasizing that preparation is crucial. He explains that readiness arises from diligent work, allowing actors to take advantage of chances when they arise. He also touches on his portrayal of Angel in “Buffy the Vampire Slayer“, indicating that playing a long-term character isn’t a trap but a chance to explore new facets and grow. About the worldwide success of the TV series, he says: “All characters were a sort of superheroes for the audience”. THE ALLURE OF STORYTELLING AND INFLUENCES FROM RENOWNED FILMMAKERS Boreanaz expresses admiration for filmmakers like Chloe Zhao, noting her understanding of storytelling through renewal and rebirth, resonating with Joseph Campbell’s ideas. He also discusses his admiration for cinematic imagery, citing his experience watching “Hamnet“ and being captivated by the symbolism intertwined within the film’s scenes. He appreciates storytelling that dives into deep, metaphysical themes, such as transformation and connection to Mother Earth, reflecting the festival’s focus on meaningful and innovative narratives. The post David Boreanaz, interview with the actor guest to Italian Global Series Festival [https://www.fred.fm/david-boreanaz-interview-with-the-actor-guest-to-italian-global-series-festival/] appeared first on Fred Film Radio [https://www.fred.fm].

“Past the Hill of Napoleon’s Hat”, interview with director Arnas Balčiūnas

Lithuanian filmmaker Arnas Balčiūnas arrives at the Karlovy Vary International Film Festival 2026 with Past the Hill of Napoleon’s Hat, one of the ten short films showcased in Future Frames [https://www.fred.fm/efp-future-frames-2026-returns-to-karlovy-vary-with-europes-next-generation-of-filmmakers/], the European Film Promotion initiative that introduces Europe’s most promising young directors to the international film industry through screenings, masterclasses and networking opportunities. Rather than offering a conventional family drama, Balčiūnas builds an intimate and restrained portrait of emotional distance, where silence speaks louder than confrontation. Set on a single early spring day, the short film [https://www.kviff.com/en/programme/film/84/50579-past-the-hill-of-napoleons-hat] follows Martynas as he picks up his father from a psychiatric hospital and drives him to visit his grandparents in rural Lithuania. Along the journey, familiar landscapes awaken memories that neither father nor son can fully articulate, exposing wounds that have remained buried across generations. A STORY ROOTED IN PERSONAL EXPERIENCE The emotional core of the film originated in a conversation with the director’s own father, who once reflected on his difficult relationship with his abusive parent and the discomfort of seeing his father’s physical features reflected in himself. That confession became the foundation for a story about inherited trauma and the invisible threads connecting different generations. “There’s a lineage here of what I would see as generational trauma.” Rather than recreating his own family’s history, Balčiūnas transformed those emotions into fiction, exploring how unresolved pain can quietly shape relationships long after the original events have passed. CHOOSING EMPATHY OVER JUDGMENT One of the film’s most striking qualities is its refusal to divide its characters into victims and villains. The father is fragile, emotionally distant and difficult to understand, yet the film consistently resists judging him. For Balčiūnas, the real tragedy lies elsewhere. “The saddest thing is the inability to talk about these things.” Instead of explaining every detail of the family’s past, he focuses on the present moment, observing people who continue trying, however imperfectly, to repair broken relationships. That choice allows empathy to emerge naturally, without relying on melodrama or easy resolutions. WHEN THE LANDSCAPE CARRIES HISTORY The Lithuanian countryside becomes an extension of the characters’ emotional state. The familiar post-Soviet houses and quiet rural spaces are not simply realistic settings, but subtle reminders that personal trauma is often inseparable from broader historical experiences. Balčiūnas explains that the emotional patterns portrayed in the film can be found in many Lithuanian families and across the post-Soviet region, where political history has left deep marks on private lives. Rather than making this connection explicit, he allows the environment itself to suggest the weight of a collective past. FINDING A VOICE IN CONTEMPORARY EUROPEAN CINEMA Being part of Future Frames has also allowed the young director to encounter fellow emerging filmmakers at a crucial stage of their careers. He describes the programme less as an immediate professional breakthrough than as the beginning of relationships that may shape future collaborations while offering a broader perspective beyond the national context of film school. Reflecting on today’s film landscape, Balčiūnas acknowledges that young directors face increasing pressure to define a recognisable artistic identity early in their careers. With an overwhelming number of films constantly available, he believes the greatest challenge is not finding a visual style but discovering themes that genuinely belong to one’s own life and cultural background, rather than following existing trends. WHY SHORT FILMS REMAIN THE PERFECT FORM Although he recently premiered another short film at the Cannes Film Festival and is already developing his next project, Balčiūnas continues to embrace the short format as the space where his storytelling feels most natural. “I also like the impressionistic nature of short films. It’s something that suits my storytelling style.” He sees short films as works that can be almost entirely imagined before production begins, allowing filmmakers to refine every choice while preserving ambiguity. Rather than offering definitive answers, they invite audiences to continue thinking after the final frame, completing the emotional journey themselves. The post “Past the Hill of Napoleon’s Hat”, interview with director Arnas Balčiūnas [https://www.fred.fm/past-the-hill-of-napoleons-hat-interview-with-the-director-arnas-balciunas/] appeared first on Fred Film Radio [https://www.fred.fm].

“Half-moon”, interview with director Hae-Sup Sin

For Hae-Sup Sin, Half-moon is not simply a story about reunion. It is about everything that remains unresolved once that reunion finally happens. Presented at the Karlovy Vary International Film Festival 2026 within Future Frames [https://www.fred.fm/efp-future-frames-2026-returns-to-karlovy-vary-with-europes-next-generation-of-filmmakers/], the European Film Promotion initiative showcasing emerging European filmmakers, the short film [https://www.kviff.com/en/programme/film/84/50584-ban-dal-half-moon] follows a Swiss adoptive mother and her son as they travel to South Korea to meet his biological mother for the first time. Set almost entirely within a traditional Korean restaurant, Half-moon explores identity, belonging, and motherhood through restrained performances, quiet observation, and the emotions that emerge when words are no longer enough. FROM A DOCUMENTARY TO AN ORIGINAL STORY The film was inspired by a brief Swiss television documentary about a young Korean girl adopted in Switzerland whose biological mother unexpectedly managed to find her. What fascinated Sin was not the reunion itself, but the adoptive mother’s emotional position. “Usually adoptees search for their biological parents,” he explains. “In this case, the biological mother found the child. I became curious about how the Swiss mother would feel, understanding that another woman could also say, ‘She is my daughter.'” Rather than adapting that true story, Sin used it as the starting point for an original screenplay exploring the emotional space shared by two women connected by the same child. ONE ROOM, TWO MOTHERS Almost the entire film unfolds inside a traditional Korean restaurant, a deliberate choice that carries both dramatic and symbolic meaning. In Korean culture, these restaurants are often where couples introduce their parents before marriage. Sin found it an appropriate setting for two mothers meeting for the first time instead. “I thought it was quite ironic,” he says. “The two mothers face each other there for the first time.” The confined setting also reflects his interest in chamber pieces, in which emotional tension builds through small gestures rather than dramatic action. Food itself becomes another language. “Eating behaviour tells you so much about people and culture,” he explains. “That was another reason I chose the restaurant.” WHEN SILENCE BECOMES DIALOGUE Language barriers shape every interaction in Half-moon. Characters speak different languages, rely on translation and frequently struggle to express what they truly feel. Rather than treating this as an obstacle, Sin embraced silence as one of the film’s central narrative tools. “Silence is one of the most universal languages,” he says. Throughout the film, glances, pauses, and body language communicate emotions that dialogue cannot fully translate. The director also credits his cast for bringing those moments to life. “I relied on the actresses’ instincts,” he explains. “The screenplay was there, but how we interpreted it remained completely open.” LEARNING FROM THE OTHER SIDE OF THE CAMERA Sin also appears in Half-moon as Joel, marking his first experience as an actor. The decision presented unexpected challenges. Unable to judge his own performance objectively, he relied heavily on his cinematographer and producer, both of whom watched the monitor throughout filming and offered constant feedback. The experience has already influenced the way he approaches directing. “Before, I was very controlling,” he admits. “Being in front of the camera made me realise that sometimes it’s better to give simple directions and trust what happens inside the actors.” It is a lesson he intends to carry into future projects. THE MEANING BEHIND THE TITLE The original Korean title, Ban Dal, comes from a children’s song heard after the end credits, where a half moon becomes a boat travelling westward. Only later did Sin realise how deeply the title reflected the film itself. For him, the half moon represents Joel’s incomplete search for identity, as well as the acceptance that motherhood does not have to belong to one person alone. LOOKING AHEAD After Half-moon, Hae-Sup Sin is developing his first feature film, Some Korean Summer, a romance between a young Swiss woman and a Korean man set in the rural South Korean countryside. The project is currently in development with a Swiss production company. Far from feeling intimidated by the transition to feature filmmaking, the director says his greatest concern is securing financing. “I’m more excited than scared,” he says. “I love the process of making films, working with actors and seeing something you’ve written come to life.” His experience at Future Frames has only reinforced that enthusiasm. Beyond presenting his work to international audiences, the programme allowed him to build lasting relationships with fellow emerging filmmakers from across Europe. “We immediately became really good friends,” he says. “Seeing so many different perspectives was inspiring, but leaving with new friends is probably what I’ll remember most.” The post “Half-moon”, interview with director Hae-Sup Sin [https://www.fred.fm/half-moon-interview-with-director-hae-sup-sin/] appeared first on Fred Film Radio [https://www.fred.fm].

“Nobody Barks”, interview with director Júlia Coldwell Serra

Selected for Future Frames [https://www.fred.fm/efp-future-frames-2026-returns-to-karlovy-vary-with-europes-next-generation-of-filmmakers/] at the Karlovy Vary International Film Festival 2026, Júlia Coldwell Serra brings Nobody Barks, a darkly comic short [https://www.kviff.com/en/programme/film/84/50582-nobody-barks] that explores guilt, family ties and emotional avoidance through an increasingly absurd premise. Presented as her final master’s project, the film follows Candela, a middle-aged woman who accidentally runs over her young nephew’s dog. Unable to tell him the truth, she invents an extraordinary story: the dog has left on a pilgrimage to a sacred tree, and together they set out to find it. The premise is both humorous and unsettling, allowing the director to examine why people lie, especially when deception is motivated by love rather than selfishness. “There is something very human about lying because it is so closely connected to guilt,” Coldwell Serra explains. “We usually lie because we have good intentions and we don’t want other people to get hurt.” As Candela’s invention grows beyond her control, the film gradually shifts between comedy, melancholy and emotional tension, refusing to settle into a single emotional register. FINDING FREEDOM THROUGH ABSURDITY Rather than pursuing strict realism, Coldwell Serra embraces absurdity to reach emotional truth. For her, humour is not simply entertainment but a narrative tool that expands the possibilities of storytelling. A non-naturalistic approach allows her to establish the film’s own internal rules, creating space to address grief, guilt and responsibility without becoming didactic. “I wanted the tone to oscillate,” she says. “You don’t really know whether you should laugh, worry or cry, because life is like that. Tragedies and beautiful things don’t arrive in a convenient order.” The comedy of Nobody Barks rarely comes from punchlines. Instead, it emerges from discomfort, awkwardness and the increasingly impossible situation Candela creates for herself. Coldwell Serra also admits that humour reflects her own way of dealing with difficult moments. “Humour has always been a coping mechanism for me,” she says. “It felt like the most honest way to tell this story.” ROOTED IN A FAMILIAR LANDSCAPE The filmmaker deliberately chose to set the story in the region where she grew up. Beginning with a place she knew intimately gave her a solid emotional foundation before she allowed herself to move into more imaginative territory. She believes that authenticity comes from embracing the local rather than trying to make stories universally recognisable from the outset. The international journey of Nobody Barks has only reinforced that conviction. “The more local and the more specific you become,” she reflects, “the more universal the film can be.” Instead of smoothing away cultural details, she trusted that honesty would resonate beyond geographical boundaries. WRITING CANDELA FOR LAIA CABRERA The role of Candela was written specifically for Laia Cabrera, whom Coldwell Serra had met while working on another production. Even before the screenplay was completed, she knew she wanted the actress to embody the character. What fascinated her was not only Cabrera’s talent, but the quiet mystery of her screen presence. “There is something about her face that makes you start asking questions beyond what is happening in the film,” the director explains. That ambiguity proved essential for a protagonist whose motivations remain deliberately difficult to define. Candela’s guilt, tenderness and desperation coexist throughout the film without ever being fully explained, giving the audience space to interpret her actions. TRUSTING INSTINCT ABOVE EVERYTHING Looking back on the journey of Nobody Barks, Coldwell Serra admits she never expected the short to travel so widely after waiting nearly a year for its first premiere. Its success ultimately confirmed something she had suspected while making it: originality comes from trusting instinct rather than trying to anticipate expectations. Many readers of the screenplay struggled to imagine the unusual tone she had in mind, but she chose to follow her own vision rather than make it more conventional. “I learned not to be afraid of taking risks,” she says. “It was the most authentic film I could make.” That lesson is one she hopes to carry into her future work. GROWING THROUGH FUTURE FRAMES For Coldwell Serra, being selected for Future Frames has been both an educational and deeply personal experience. Sharing the programme with nine emerging filmmakers from across Europe, attending masterclasses and exchanging ideas about filmmaking has strengthened her optimism about the future of European cinema.”We really bonded as a group,” she says. “It’s inspiring to meet so many people who are trying to make films with the same passion. It gives me hope for the future of cinema.” The post “Nobody Barks”, interview with director Júlia Coldwell Serra [https://www.fred.fm/nobody-barks-interview-with-the-director-julia-coldwell-serra/] appeared first on Fred Film Radio [https://www.fred.fm].