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EXTRA Channel 03 FRED Film Radio channel used to broadcast press conferences, seminars, workshops, master classes, etc.
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ENTERTAINMENT Channel 11 FRED Film Radio Channel used to broadcast music and live shows from Film Festivals.
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BULGARIAN Channel 16 Ако българският е вашият роден език, или го разбирате, ТОВА Е ВАШИЯТ КАНАЛ !
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ICELANDIC Channel 26 Ef þú talar, eða skilur íslensku, er ÞETTA RÁSIN ÞÍN !
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INDUSTRY Channel 27 FRED Film Radio channel completely dedicated to industry professionals.
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EDUCATION Channel 28 FRED Film Radio channel completely dedicated to film literacy.
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SARDU Channel 29 Si su sardu est sa limba tua, custu est su canale chi ti deghet!
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“Conversation with” at the 20th Marrakech IFF, interview with actor Willem Dafoe Bénédicte Prot
Le cinéaste Emmanuel Marre détaille la fascinante méthode de travail par impro employée sur "Notre salut", un bijou de film unique en son genre, et ses enjeux par rapport à la mémoire historique
The 73rd edition of the Sydney Film Festival runs from the 3rd to the 14th of June in various locations across Sydney, featuring more thah 250 films from 81 countries, including Cannes winners and groundbreaking new voices.
"Diary of a Chambermaid", by Radu Jude explores everyday life and hidden power struggles, blending theatre, montage, and social satire, based on the book from Octave Mirbeau, and told in an inspired way under the direction of Radu Jude.
Benoît Magimel and Bastien Bouillon, who play two antagonistic figures in Léa Mysius' tense Palme d'Or contender "The Birthday Party", talk script, back story, and on-set surprises
Benoît Magimel et Bastien Bouillon sur le huis clos choral chargé de tension "Histoires de la nuit" et l'importance de la "backstory" : Léa Mysius ne fait "aucun rôle sans âme".
What Bruno Dumont envisions in "Red Rocks" is 'the world of tomorrow': 'we don't want rules, prescriptions, overprotection, constant interference: we want freedom.'
Bruno Dumont imagine dans "Les Roches rouges" "le monde de demain" : "on ne veut pas de règles, d'injonctions, de surprotection, d’empêchement permanent : on veut de la liberté".
Swann Arlaud, acteur principal de "Notre salut" d'Emmanuel Marre : "L'histoire n'agit pas d’un coup comme ça : elle arrive insidieusement, palier par palier, mais à quel moment on s’arrête ?".
Director Viesturs Kairiss discusses Ulya at Cannes 2026, exploring identity, Soviet Latvia and the human story behind Ulyana Semyonova.
Con Sorda, Eva Libertad convierte la maternidad de una mujer sorda en una historia que habla a todas y descubre que el cine puede cambiar las cosas mucho más allá de la pantalla
Con Amarga Navidad, Leonardo Sbaraglia se pone en la piel del alter ego de Pedro Almodóvar y descubre que el dolor y la gloria conviven siempre, caiga quien caiga
With I See Buildings Fall Like Lightning, Joe Cole and Jay Lycurgo play two friends at a crossroads and discover that the best way to build a character is to leave your inhibitions at the door
With I See Buildings Fall Like Lightning, Anthony Boyle and Lola Petticrew reflect on what it means to be thirty, working-class and stuck in a world that no longer keeps its promises
With Titanic Ocean, Konstantina Kotzamani plunges into a Japanese boarding school for professional mermaids and finds a story about adolescence, fantasy and the struggle to speak for yourself
With Rehearsals for a Revolution, Pegah Ahangarani weaves forty years of Iranian history into a deeply personal documentary and turns memory itself into an act of resistance
With Che Guevara: The Last Companions, Christophe Dimitri Reveille pieces together the untold escape of Che's last fighters and finds that loyalty, betrayal and truth are never black and white
Con Amarga Navidad, Rossy de Palma torna a Cannes insieme a Pedro Almodóvar e riflette sulle donne del suo cinema, sulla figura materna e su un legame che dura da quasi quarant'anni.
In "Madame", French director Hélène Rosselet-Ruiz digs into the themes of femininity and exploitation by sharing house with the secret mistress of a Saudi Sheikh
Entretien avec Hélène Rosselet-Ruiz et l'actrice Malou Khebizi sur "Le Triangle d'or", et "la confrontation de deux féminités qu'on oppose mais qui dans les deux cas, ne sont jamais assez".
La Chilena Dominga Sotomayor, directora de "La perra": "Me gusta observar en horizontal... está todo ahí en un mismo plano, no son elementos que quieren simbolizar".
Valentina Maurel, the Costa Rican-French director of "Forever Your Maternal Animal", likes a non-linear structure: 'I think characters are enough, sometimes, to make a film.'
Director Sarah Arnold on her debut feature, "Too Many Beasts": 'I made this film so that we don't forget that we have to disobey.'
Actress-turned-director and known feminist activist Judith Godrèche talks about "A Girl's Story", adapted from Nobel Prize winner Annie Ernaux' novel
Valeska Grisebach discusses Bulgaria, Europe, genre and the female gaze in The Dreamed Adventure, in Cannes Competition.
Ryusuke Hamaguchi discusses multilingual dialogue, humanism and care in All of a Sudden, in competition at the 79th Cannes Film Festival.
Con Oh Boys, Antonio Donato racconta le fragilità maschili da un borgo del Cilento e arriva alla Quinzaine come unico italiano a Cannes
With Elephants in the Fog, Abinash Bikram Shah places Nepal's Kinnar community at the centre of a thriller about chosen family, invisibility and the right to be seen as whole
Alexandra Matheou discusses "Free Eliza (Notes On An Anatomical Imperfection)" at the Quinzaine des Cinéastes in Cannes.
Kiyoshi Kurosawa discusses "Kokurojo – The Samurai and the Prisoner" at the 79th Festival de Cannes and reflects on anti-heroes and power.
Explore the captivating "9 Temples to Heaven" journey and discover Thailand’s spiritual rituals, cultural significance, and cinematic beauty in the new Sompot Chidgasornpongse's film.
