At Focus London 2025, Fred Film Radio spoke with Alberto Battocchi, Film Commissioner at the Trentino Film Commission, about what a film commission really does today, why being present at Focus remains important, and how Trentino is balancing international ambition with local responsibility.

Attracting Productions While Growing the Local Industry

Battocchi described the role of a film commission as having two clear missions. On one side, he explained, is the work of attracting film and TV productions from outside the region, whether from elsewhere in Italy, across Europe or further afield. On the other is the responsibility to grow the local film industry, ensuring that professionals continue to develop their skills and that local producers are supported in taking their projects beyond regional borders.

What Makes Trentino Distinct

When talking about Trentino itself, Battocchi highlighted the region’s position in the very north of Italy, where Italian and continental European cultures meet. He explained that this gives filmmakers access to a wide variety of locations within a relatively small territory, from cities and castles to lakes, villas and public spaces. He also pointed out that many public locations can often be used free of charge, describing this as a practical advantage for productions. Being at Focus London, he added, allows him to meet producers and location managers face to face, exchange ideas with colleagues from other countries, and build relationships that simply aren’t possible remotely.

Proud Projects, Green Film, and Looking Forward

Battocchi spoke with particular pride about “Vermiglio” by Maura Delpero, shot entirely in Trentino and winner of the Silver Lion in Venice, describing it as a perfect collaboration between a sensitive director and the territory itself. He also mentioned a major Netflix series currently shooting in Trento, drawn to the city’s Christmas market and seasonal atmosphere. Beyond individual productions, he highlighted Green Film, the sustainability certification system Trentino launched in 2017, which has since been adopted by many other regions and has certified more than 300 projects. Looking ahead, Battocchi said his personal wish is to see more high-quality European co-productions choosing Trentino, believing strongly in the power of collaboration to allow one region’s culture and landscapes to reach audiences across Europe.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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At Focus London 2025, Fred Film Radio spoke with Simone Gandolfo, President of the Valle d’Aosta Film Commission, about the fundamentals of a film commission’s role, what sets the region apart, and why in-person markets remain vital to the industry.

A Hands-On Role at the Heart of Production

Gandolfo explained that Valle d’Aosta Film Commission operates very practically, managing its own regional fund alongside national incentives and tax credits. The commission can provide up to €300,000 per production, but he stressed that financial support is only part of the job. Just as important is acting as a direct interface between productions and the territory, supporting everything from location scouting to permits for public and private spaces, and working closely with local authorities to make filming as smooth as possible.

Extreme Landscapes and Unexpected Scale

Pitching Valle d’Aosta, Gandolfo leaned into the region’s compact but dramatic geography. Within an hour’s drive, productions can access 4,000-metre-high mountains, castles spanning multiple centuries, Roman archaeological sites and highly skilled local crews used to working in extreme environments. He spoke proudly about the region’s ability to host everything from intimate indie projects to large-scale European co-productions at altitude, while also being within easy reach of major cities when needed.

From Cannes to Blockbusters — and Looking Ahead

Reflecting on recent highlights, Gandolfo pointed to “The Eight Mountains (Le otto montagne)”, which played at Cannes in 2023, and the internationally successful TV series “Rocco Schiavone”, which continues to sell strongly in the US and across Europe. He also referenced past large-scale productions, including “Avengers” and “House of Gucci”, describing the region’s approach as one of balance — supporting blockbusters, TV, documentaries and European indie cinema side by side. Looking ahead, Gandolfo highlighted strong green, HR and diversity protocols already in place, expressed optimism about AI as a tool if handled responsibly, and, on a more playful note, revealed his personal wish to welcome Darren Aronofsky or even an HBO-scale fantasy series, insisting that Valle d’Aosta could easily double for something on the scale of “Game of Thrones”.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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The Berlin International Film Festival has announced that Wim Wenders will serve as President of the International Jury of its 76th edition. The festival, scheduled to run from February 12 to 22, 2026, will see one of Germany’s most internationally recognised filmmakers return to his hometown in an official role central to the Competition.

Commenting on the appointment, Berlinale Director Tricia Tuttle stated, “Wim Wenders is one of the most influential voices in international cinema. For six decades, he has made films that move and delight us with their humanity and sense of wonder. His insatiable curiosity and deep mastery of film language are evident in every work, whether he is exploring the gifts of other artists or illuminating our own search for meaning and connection. To say we are proud of this homegrown polymath is an understatement, and we cannot wait to see where jury president Wim Wenders leads our jury in picking the Golden and Silver Bear winners of the 76th Berlinale”.

A Career Shaping Contemporary Cinema

Emerging in the early 1970s as a key figure of New German Cinema, Wim Wenders helped redefine German film’s identity at a crucial historical moment. Early works such as The Goalkeeper’s Fear of the Penalty (1972), Alice in the Cities (1974), Kings of the Road (1976) and The American Friend (1977) established a new cinematic language, grounded in movement, geography and existential inquiry.

In parallel with his filmmaking activity, Wenders played a structural role in the industry. In 1971, he co-founded Filmverlag der Autoren, and in 2003, he became a founding member of the German Film Academy. His involvement with the European Film Academy, which he co-founded and later presided over for more than twenty years, further positioned him as a central figure in European cinema.

International Milestones and Artistic Curiosity

Wim Wenders’ filmography includes several landmarks of world cinema, from Paris, Texas, winner of the Palme d’Or at Cannes in 1984, to Wings of Desire (1987), a film inseparably linked to Berlin. Titles such as Until the End of the World (1991), Faraway, So Close! (1993) and the documentary Buena Vista Social Club (1999) illustrate the breadth of his work across genres and continents.

More recently, Wenders returned to critical and public attention with Perfect Days (2023), which earned an Academy Award nomination, and Anselm (2023), a 3D documentary portrait of artist Anselm Kiefer. His continued exploration of new technologies was already evident in Pina, which premiered in Competition at the Berlinale in 2011 and was awarded Best Documentary at the German Film Awards.

A Longstanding Relationship with the Berlinale

Wenders’ connection to the Berlinale is longstanding and multifaceted. Beyond Pina, he has presented several films at the festival, including The Million Dollar Hotel, which opened the 2000 edition, and Everything Will Be Fine (2015). He was also actively involved in the early years of the Berlinale Talent Campus, now Berlinale Talents.

In 2015, the festival honoured him with the Honorary Golden Bear for lifetime achievement, accompanied by the screening of seven restored versions of his films.

Wenders on His Role as Jury President

Reflecting on his appointment, Wim Wenders said: “It never hit me to even remotely think about being jury president in my hometown until Tricia Tuttle asked me. And then I realised: Wow! That’ll be a whole new way to see films at the Berlinale, for once watch each and every one in the Competition and discuss them all in-depth with a group of intelligent and movie-loving people. How good can it get? I’m grateful to Tricia to invite me to this rare experience.”

Towards the 76th Berlinale

As Jury President, Wim Wenders will chair the International Jury, which will award the Golden and Silver Bears. The Award Ceremony will take place on February 21, 2026, concluding a Berlinale edition that places continuity, cinematic heritage and international dialogue at its core.

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At Focus London 2025, Fred Film Radio spoke with Jacopo Chessa, Director of the Veneto Film Commission and President of the Italian Film Commissions Association, about Italy’s film commission system, Veneto’s recent screen successes, and why international collaboration is now central to the industry.

How Film Commissions Work — and Why Italy Attracts Productions

Jacopo Chessa explained that Italy’s film commissions operate at a regional level, with all 20 regions offering public support to film and TV productions. This includes funding, permits and infrastructure, with around €80 million in regional funding available each year nationally, on top of national incentives. A key aim, he stressed, is attracting international productions while working collaboratively across regions rather than competitively.

Veneto on Screen: Venice, Festivals, and Global TV

Focusing on Veneto, Jacopo Chessa described Venice as both a global brand and a challenging place to film, requiring experience and careful planning. He outlined the region’s €6 million annual fund, supporting up to 50% of local costs, and reflected on a wide mix of recent projects. These ranged from Cannes-selected “Le città di pianura (The Last One for the Road)” and Venice competition title “Duse”, to large-scale productions such as “Dune: Part Two”, “FBI International” and “Emily in Paris”. On the TV side, he also highlighted “Stucky”, affectionately describing it as a Venetian take on “Columbo”.

Green Film, Focus London, and Looking Forward

Chessa spoke about sustainability initiatives, including the adoption of the Green Film protocol and an upcoming international training programme to develop green managers for film sets. He described Focus London as a particularly useful, location-driven market and highlighted the newly signed agreement with the British Film Commission as a practical first step towards deeper collaboration. Looking ahead, he emphasised the need for stronger organisation, international presence and better communication around contemporary Italian cinema, noting with pride that Veneto had enjoyed a standout year across major festivals.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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At Focus London 2025, Fred Film Radio spoke with Stefania Ippoliti, Director of the Toscana Film Commission, about the evolving role of film commissions, what Tuscany continues to offer productions, and why international collaboration feels more important than ever.

Making Tuscany Work for Productions

Ippoliti described the core role of a film commission as welcoming productions from Italy and abroad and helping them navigate everything from permits to local systems they may not be familiar with. While Tuscany is already a globally recognised brand for its culture and landscapes, she stressed that a key part of the commission’s work is making it genuinely easier for producers to set up and shoot in the region. Alongside financial support, this includes acting as a bridge between international working habits and local realities, helping productions feel “at home” while filming.

From Romance to Railways

Talking about the kinds of stories drawn to Tuscany, Ippoliti noted the continued popularity of romantic narratives, particularly for platforms, often centred on characters from different cultures meeting in the Tuscan countryside. At the same time, she highlighted a broad mix of productions, including documentaries, unscripted work and TV series. Among the projects she mentioned with particular pride were the series “The Monster of Florence”, which revisits a traumatic chapter of local history, and “Jay Kelly” by Noah Baumbach, shot in Tuscany in part because of the region’s unique railway depots housing historic trains. These less obvious assets, she explained, are just as important as Tuscany’s famous cities and landscapes.

Focus London, the Future, and a Personal Wish

Ippoliti described her return to Focus London as especially meaningful this year, highlighting the newly signed agreement with UK institutions and Tuscany’s long-standing cultural ties with British creatives. She spoke about the potential of stronger UK-Italy collaboration, particularly as a bridge to the American market. Looking ahead, she expressed less concern about AI than about global political instability and its impact on cultural industries, stressing the importance of continuing to support film as both a cultural and economic sector. Ending on a lighter note, Ippoliti shared her personal wish to work more closely with Shonda Rhimes, praising her as a powerful creative entrepreneur and jokingly suggesting a “Tuscany-style” take on “Bridgerton”.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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At Focus London 2025, Fred Film Radio spoke with Diego Cavallo, Partner at Panorama Films, about the role of production service companies, the scale of international projects filming in Italy, and why face-to-face markets still matter.

Supporting Productions on the Ground

Cavallo explained that Panorama Films works as a production service company, supporting international productions at every stage of shooting in Italy. This includes location scouting, liaising with film commissions, providing experienced English-speaking crews, and handling the complex process of applying for Italy’s tax credits. He stressed the importance of trusted local expertise, noting that many of Panorama’s location managers have received international recognition and have worked on major productions ranging from “House of Gucci” to “Succession” and “The White Lotus”.

From Blockbusters to Prestige TV

Reflecting on the company’s recent highlights, Cavallo spoke proudly about working on projects including “Mission: Impossible”, “All the Money in the World” and multiple collaborations with Ridley Scott. He described the experience of filming “Mission: Impossible” in Venice just after lockdown as particularly memorable, with the city almost entirely empty. He also discussed Panorama’s work on the final episodes of “Succession” season three in Tuscany and Lake Como, and on the entirety of “The White Lotus” season two in Sicily, highlighting the close creative collaboration with international teams and the strength of Italian crews, many of whom went on to work together again on later productions.

Why Focus London — and Looking Ahead

Cavallo described Focus London as a valuable opportunity to strengthen relationships that often exist only virtually, allowing people to reconnect face-to-face and put names to emails. While acknowledging the dominance of streaming platforms, he spoke about the continued appeal of both high-quality series and smaller, more challenging independent films. Looking ahead, he expressed cautious curiosity about the role of AI as a tool rather than a threat, and shared his optimism about the health of the Italian industry, pointing to the post-pandemic surge in productions, growing crews, and the lasting impact of screen tourism sparked by shows like “The White Lotus”.

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At Focus London 2025, Fred Film Radio spoke with Andrea Rocco, Director of the Sardegna Film Commission, about stepping into the role, selling Sardinia as a filming destination, and how the region is investing in long-term, sustainable growth.

A New Role with a Clear Mission

Rocco spoke about recently taking up the role of Director of the Sardegna Film Commission, returning to Focus London after having followed the event for many years in a previous position. He described the core role of a film commission as attracting productions to generate visibility and economic and touristic return, while increasingly focusing on building a healthy and sustainable local film industry. For Sardinia, he explained, this balance between visibility and long-term development is especially important.

Why Sardinia Works — Even If It’s an Island

Addressing the fact that Sardinia is an island, Rocco acknowledged that productions can initially see this as a complication, before quickly realising the advantages. He highlighted the region’s remarkable variety of locations — from beaches and lakes to mountains, cultural sites and landscapes — all within a single territory. He also pointed to strong financial incentives, support with transport costs, and a growing, high-quality local crew base, meaning productions don’t need to bring everyone with them. The result, he said, is a region that looks complex on paper but works very smoothly in practice.

From “Star Wars” to Training the Next Generation

Reflecting on recent highlights, Rocco noted that just two weeks after starting the job, Sardinia hosted a major “Star Wars” feature film, set for release in 2027 — a moment he described as a dream scenario for any film commission. He also referenced earlier projects, including “The Irish Affair”, alongside a growing number of locally produced feature films now travelling beyond Sardinia to wider Italian and international audiences. Rocco highlighted training as a key priority, pointing to an animation programme that has already trained around 100 young people, as well as Sardinia’s early leadership in green filming, with incentives rewarding productions that follow sustainable protocols. Looking ahead, he said his ambition is to attract more long-running TV series, seeing them as essential for building skills, experience and a stable local industry over time.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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At Focus London 2025, Fred Film Radio spoke with Matteo Garnero, Head of Marketing at the Genova Liguria Film Commission, about the close relationship between filming and tourism, what makes Liguria uniquely versatile on screen, and why international collaboration is key to the region’s ambitions.

A Film Commission as Storyteller and Facilitator

Matteo Garnero described the role of a film commission as having two main goals: first, helping productions understand why a region is worth filming in, and second, making sure that once they arrive, everything runs smoothly. Using Liguria as an example, he described the region as “a little Italy” in just a few kilometres, where productions can find mountains, sea, historic towns and modern cities without the need for constant travel. The commission’s job, he explained, is to take care of permits, hotels and logistics so filmmakers can focus entirely on creativity.

From Italian TV Hits to Hollywood Visitors

Talking about projects shot in the region, Matteo Garnero pointed to the popular Italian TV series “Blanca” as a recent highlight, while noting that several international productions — including a Netflix project — are currently in development but still under wraps. Looking further back, he recalled the excitement of hosting the Adam Sandler-led film “Murder Mystery”, describing the buzz of having Hollywood crews working across Liguria. His focus now, he said, is on attracting more international films and TV series, building on the region’s flexibility and growing reputation.

Focus London, Global Partnerships, and Big Dreams

Matteo Garnero stressed the importance of Focus London as a place where real connections are made, arguing that face-to-face conversations are far more powerful than emails and paperwork. He spoke enthusiastically about the newly signed agreement between Italian and UK film commissions, describing England as one of Europe’s strongest and most forward-thinking production hubs. Looking ahead, he expressed optimism about AI as long as clear rules are established, highlighted a major heritage-driven project in development linked to Liguria’s historic ties to early Hollywood and Walt Disney’s “Snow White”, and ended on an ambitious note: his goal is to move Liguria from the “B-League” to the “A-League” of global filming — with Hollywood majors firmly in sight, and, ideally, Scarlett Johansson directing or starring in a future Ligurian project.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency

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We met with Laurence Fishburne, at the 22nd Marrakech International Film Festival. He has built a remarkable career spanning decades, becoming one of the most respected figures in Hollywood. From iconic film roles to theatrical productions, his work reflects a deep commitment to storytelling and cultural representation. We talked about his career, his approach to acting, and his future projects.

His Iconic Films

Laurence Fishburne gained worldwide fame with his role in “The Matrix”, where he portrayed Morpheus. This film became a cultural phenomenon, and his portrayal set a new standard for science fiction characters. Beyond “The Matrix”, Fishburne’s performances in movies like “Boyz n the Hood” and “Apocalypse Now” showcased his range and ability to embody complex characters. His contributions have cemented his status as a leading figure in American cinema. His dedication to roles that resonate on a deeper level is evident in his choice of projects. Fishburne has expressed a desire to create work that impacts audiences emotionally and intellectually. His involvement in critically acclaimed films and series demonstrates his commitment to storytelling that moves the soul.

The Evolution and The Future

Looking at his latest endeavors, Laurence Fishburne is expanding into directing while continuing to perform. He has recently written and performed a solo show that reflects his personal journey and storytelling passion. His future projects include developing new film concepts and stage performances, indicating his desire to explore new creative horizons. In addition to his acting and directing pursuits, Fishburne remains passionate about social and cultural issues. His roles often inspire conversations about identity, history, and society.

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We met with Guillermo del Toro at the 22nd Marrakech International Film Festival. We talked about his approach to storytelling, his artistic influences, and the themes that shape his films.

Reimagining Monsters with Humanity

Guillermo del Toro is renowned for creating monsters that evoke sympathy rather than mere terror. His fascination with the emotional depth of creatures is rooted in childhood encounters with classic horror and Japanese kaiju movies, where monsters like Godzilla transitioned from destructive forces to misunderstood beings. del Toro often stresses that his monsters symbolise broader human experiences such as loneliness, rejection, and the need for understanding. His films, including “Pan’s Labyrinth” and “The Shape of Water“, exemplify this approach by showcasing creatures that are tender, often suffering, and deeply human.

The Artistic Influences and Philosophical Foundations

The work of Guillermo del Toro is heavily influenced by visual arts, illustration, and literary classics, especially Frankenstein by Mary Shelley. del Toro often cites painting, comic art, and film pioneers like Hitchcock and Fellini as essential to his aesthetic development. His cinematic language is characterized by richly textured visuals, expressive composition, and deliberate use of color and sound to evoke emotion. These influences inform his storytelling, allowing him to craft films that are visually dense and narratively profound, echoing the philosophical depths present in Shelley’s novel, which del Toro admires for its exploration of creation and empathy.

Reflection on Career and Future Projects

Throughout his career, Guillermo del Toro has balanced homage and innovation, drawing from his personal history and artistic influences to develop unique films. Inspired by legendary directors like Hitchcock and Cronenberg, del Toro embraces creative risk, often advocating for artists to “scare themselves into being young.” His upcoming projects promise to continue pushing boundaries, exploring new themes and aesthetics while maintaining his signature depth and humanity. In reflecting on his body of work, it is clear that Guillermo del Toro’s exploration of monsters—both literal and metaphorical—is driven by a desire to understand and humanize the other, a perspective central to his identity as a filmmaker.

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At the opening night of MoMA’s Carlo Rambaldi film retrospective, Daniela Rambaldi joined us for a special conversation reflecting on the life and legacy of her father. This interview offers a rare opportunity to hear firsthand how Carlo Rambaldi’s imagination, discipline, and emotional sensitivity shaped some of the most enduring creatures in cinema history.

Speaking from personal memory and family perspective, Daniela Rambaldi discusses her father’s early influences, his approach to craftsmanship, and his collaborations with filmmakers such as Steven Spielberg. The conversation reveals the human dimension behind Carlo Rambaldi’s technical mastery, emphasizing his belief that even the most fantastical creatures must be capable of expressing vulnerability and empathy.

Conducted on the evening that marked the public launch of the retrospective, this interview serves as both a tribute and a point of entry into the films presented, inviting audiences to experience Carlo Rambaldi’s work not only as a milestone in special effects, but as a deeply personal artistic legacy.

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