Following a ten-year tenure of Jonas Holmberg, the 48th Göteborg Film Festival is set to usher in a fresh chapter under the leadership of artistic director Pia Lundberg. Notable figures like Julie Delpy, Thomas Vinterberg, Mohammad Rasoulof, Joshua Oppenheimer, Thomas Alfredson, and Trine Dyrholm are anticipated to attend from January 24th to February 2nd.
In this unique conversation, the previous leader of global affairs at the Swedish Film Institute and diplomat representing Sweden’s cultural interests in London shares insights into the complexities involved in curating the most prominent film festival in the Nordic region.
As a new artistic director, what particular qualities or perspectives do you believe you’re contributing to the festival, given your distinct background, expertise, and experiences?
Pia Lundberg: My predecessor, Jonas Holmberg, who spent a decade at the festival, was incredibly knowledgeable, so I find myself in quite large footsteps. However, I am confident that my 10-year stint as head of international for the Swedish Film Institute gives me a unique perspective on festivals. Additionally, I have an extensive network within the industry and experience from various cultural fields, particularly during my time in London as Cultural Attaché. Working with opera, theatre, film, and music was both enlightening and expanded my understanding of diverse art forms. Moreover, my journalistic background is beneficial across all organizations, a fact that Jonas also highlighted.
Jonas Holmberg said Göteborg holds a particular spot in the Nordic film landscape. Do you agree?
Without a doubt, if you’re planning to attend a single film festival in the Nordics during the year, Göteborg should be your destination! From an international point of view, it provides a comprehensive overview of what’s trending in the Nordic film and television industry and where to find emerging talented voices. In fact, no other festival in the region offers such a broad perspective on Nordic films. Moreover, Göteborg boasts a dedicated and loyal local audience, with over 270,000 tickets sold in cinemas and online. That’s an astonishing number! The opening film is also screened in more than 40 cinemas across Sweden, while eight festival titles reach out to Swedish moviegoers beyond Göteborg.
What was it like having your initial programming encounter in Gothenburg? Can you share the number of movies your team watched to reach your final count, as well as any obstacles you encountered during this process?
We meticulously pieced together a diverse collection of cinematic works. With approximately fifteen team members from our programming committee, we scrutinized approximately 3,000 films to assemble our carefully selected list of 270 movies hailing from 83 different nations. These films will be showcased in 21 cinema theaters in Göteborg and online. Despite the challenges, it’s been a delightful and prestigious experience to contribute to this process.
Concerning difficulties, one of the major hurdles we encountered involved the shifting dates for both Sundance and Rotterdam. Despite this, we were obligated to maintain our original schedules due to various reasons. Typically, Sundance precedes Gothenburg, allowing us to utilize some of their film titles, but they pushed back their event this year primarily because of how the U.S. Martin Luther King holiday fell in 2023. This left us running concurrently with Rotterdam, but they have decided to start a week later than usual this time around. As a result, our competition for titles became more intense than ever. Fortunately, we enjoy amicable relationships with both festivals and were able to collaborate on our programming strategies. Collaborating on Nordic films has always been an appealing prospect for us.
You have as many as 25 world premieres. Is this an exceptional number?
Compared to the last few years when we had fewer than twenty world premieres, our pace was on par with pre-COVID-19 times.
What about gender balance? What’s the share of films helmed by women?
I’m not completely content because we have roughly 44% of female film directors. Unfortunately, this percentage has been decreasing in recent times, which is disappointing given our intentions to achieve gender equality. On a global scale, the disparity was even larger – about 75% male and 25% female directors among the films we analyzed. On the Nordic side, we’re at approximately 47.5%. In Sweden, there are fewer films being produced, and the public funding provided by the Swedish Film Institute has decreased. While many independent Swedish films continue to be financed, they are typically directed by men more often.
Will this topic be on the agenda of your annual Film Policy Summit in Gothenburg?
The policy discussion for our movie, taking place from January 24th to 26th, is focused on addressing pressing challenges within Swedish cinema. I’m proud to be part of a team of experts, which includes Ruben Östlund and Tomas Eskilsson from Film i Väst, among others. This group was established by the Swedish Culture Minister as part of the ongoing investigation into revising national film policy by the government. The findings from our research paper are expected to be released in late February.
For quite some time, the limited funding for Swedish films has been a significant challenge. Compared to Denmark and Norway, Sweden receives only half the amount for film production, and this is three times less than what Norway provides. Last autumn, due to cost-saving measures, the Swedish Film Institute had to lay off 20 employees. One persistent problem we’ve examined is that Swedish films hold a smaller market share within Sweden compared to Denmark (25%) and Norway (27%). In 2023, this figure was just 17%.
Regarding programming again, certain celebrations have encountered pressure due to political disputes, particularly those related to the ongoing issues in Ukraine and Gaza. Did you consider these tensions subconsciously while working?
In our programming process, we didn’t experience any political coercion, but the idea of presenting conflicts and amplifying the voices of filmmakers challenging authoritarian rule was always at the heart of our thinking, particularly as we developed our focus on disobedience and civil resistance. Given the intricate nature of our current times, with wars, climate change, and democracy eroding, we found it crucial to address these issues head-on.
In the Nordic region, we’ve noticed a growing disconnect among young people regarding significant political and societal matters. This led us to believe that disobedience was an ideal theme for addressing today’s challenges to our democracies. We aimed to inspire hope and demonstrate that even one person standing up against injustice can make a difference.
Through our 14 features and six shorts within the Disobedience program, we sought to present the topic from various angles. We’re particularly excited to welcome Iranian filmmaker Mohammad Rasoulof, who will share insights after the screening of “The Seed of the Sacred Fig” on Jan. 30.
Do you think that challenging authority or going against the norm is inherent to Gothenburg’s character? Over the past few years, Gothenburg has come up with groundbreaking projects to redefine people’s perspectives on cinematic experiences – from a unique outdoor screening on an island during COVID-19, to Ruben Östlund directing live performances and even an AI adaptation of Ingmar Bergman’s “Persona”…
This question is quite intriguing, and indeed, the spirit of disobedience has always been integral to our festival. This year, we’re delving deeper into this theme, offering more focused exploration. Keep an eye out as we have planned some unexpected events during the festival that will showcase live examples of disobedience. The grand opening is where we’ll unveil even more details!
Eirik Svensson’s play “Safe House” is set to open the festival, while Mads Hedegaard’s prehistoric tale “The Stranger” will be the final film shown. What makes these selections?
Finding the perfect opening movie can be quite challenging. Ideally, it should hail from the Nordic region, boast exceptional quality, be a world premiere, and be accessible for both cinema and online screenings. I’m thrilled with “Safe House,” a gripping drama inspired by the true story of Lindis Hurum, the general director of Doctors Without Borders/Médecins Sans Frontières in Norway. This film raises moral quandaries and highlights tough decision-making under immense pressure. The acting, particularly from Norwegian actress Kristine Kujath Thorp, is truly exceptional. “Stranger” is another courageous and innovative production from the Nordic region – a remarkable Danish film that delves into the past, set in 4,000 BC. The director and his team have even reconstructed two pre-Indo-European languages for this ambitious project.
As a cinephile, I must say that the Nordic competition is my standout event in this film festival. Intriguingly, this year saw a number of submissions, and the selection presents an eclectic mix of narratives. It appears that Denmark has a strong showing this year with three out of nine chosen titles – quite a dominance!
In our work, we worked closely with Nordic film institutions and production companies. Throughout the year, we screened approximately 70 films, ultimately selecting the most exceptional ones. It’s been an exhilarating journey, and I wish we could have featured more of them. Denmark and Norway had a particularly strong film year, while Sweden faced lower production volumes and fewer high-profile titles. However, we’re proud to present in this section the world premieres of two promising debuts by female directors. “Live a Little” by Fanny Ovesen is a moving and courageous title centered around sexual abuse, and “Kevlar Soul,” by Maria Eriksson-Hecht, is a social-realist drama reminiscent of Andrea Arnold’s work, a genre that may be underrepresented in Sweden. Although “Paradise Burning” also shares a similar setting, it too could be categorized as a high-profile title.
As a movie critic, I’m thrilled to announce that our documentaries are contending for the Dragon Award! Among them, “Ultras” is particularly noteworthy, offering a gripping exploration of the global subculture surrounding football ultras. This film will make its world debut in our competition. Additionally, we have “Mr Nobody Against Putin,” fresh from Sundance, providing an exclusive look into the inner workings of Russia’s propaganda machine during wartime. Both films promise to deliver captivating narratives and thought-provoking insights.
In this global competition, there are 18 diverse film titles to choose from. These include the international debut of the Australian prison drama “Inside,” starring Guy Pierce, as well as Canada’s “Measures for a Funeral.” Additionally, one world premiere hailing from Spain, titled “Pheasant Island,” is also part of the lineup. Would you care to share your thoughts on these selections?
We’re thrilled with this film selection, as it encourages viewers to choose their favorite movie. The intriguing thriller “Pheasant Island,” chosen by our programmer Camilla Larsson, is a debut from Asier Urbierta. It explores the complexities of border control and its impact on individuals. Originally intended for our Disobedience category, it showcases Spain’s vibrant creativity. I recently attended San Sebastian with a team of programmers and was captivated by the high-quality films and production standards there.
In your Ingmar Bergman competition section, you’ll find “The Last Romantics,” a dramatic debut by David Pérez Sañudo from Spain.
Or more casually:
David Pérez Sañudo’s drama “The Last Romantics” is part of the Ingmar Bergman competition section for outstanding first and second features, hailing from Spain.
Indeed, this section is a premier exhibition for Göteborg and we’re unique in that we can host a competition using his name worldwide. We take great pride in presenting eight titles from eight distinct countries. One of these, “Then, the Fog” from Argentina, will have its international debut, while two other films, “Land of Morning Calm” (a South-Korean drama) and “Cactus Pears” (a queer Indian drama), will make their European premieres.
In the TV Drama Vision sidebar, Nordic shows hold a prominent spot. Moreover, a few Swedish series such as “Faithless” from SVT and “The Congregation” Season 2 from TV4 will receive special treatment at film festivals with red-carpet events. Are there any plans to broaden the festival space for more series in the future?
Actually, not all series are suitable for the big screen, but some truly exceptional ones should be. For instance, “Painkiller” by Gabriela Pichler from last year was one such series that deserved this treatment. This year, we’re excited to present Tomas Alfredson’s masterpiece, “Faithless,” in its entirety. We’re also screening “The Congregation” Season 2 in collaboration with TV4.
Julie Delpy, Thomas Vinterberg, along with Joshua Oppenheimer, Mohammad Rasoulof, Trine Dyrholm, and Dag Johan Haugerud are set to grace the red carpet. One might wonder how we manage to draw in such prominent figures. Well, despite Göteborg’s late January weather, which can be a bit chilly with its mix of rain, snow, and strong winds, our festival has proven to be a unique attraction for global talent. Our invitations seem to have been well-received, and we eagerly anticipate the spectacle we will present for our audience.
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2025-01-07 15:17