In recent times, politics and cinema have become closely intertwined, with the film industry experiencing pressure from global politics, threats to democratic values, and economic changes brought about by globalization and digital transformation. This complex environment has even affected the usually resilient Nordic countries, despite their significant contributions to European filmmaking and strong market presence. As evidence of this, the Nordics managed to secure three top awards at Cannes Film Festival this year.
Sweden and Norway are competing for a Palme d’or with “The Eagles Have Landed” by Tarik Saleh and “Sentimental Value” by Joachim Trier, respectively. Iceland’s Hlynur PĆ”lmason presents “The Love that Remains” at Cannes Premiere, while Finland introduces Lauri-Matti Parppei’s debut film, “A Light That Never Goes Out,” in the ACID sidebar. The Nordic region is recognized for its significant role in cinema history and future, as “Being Bo Wideberg” by Jon Asp and Mattias Nohrborg premieres at Cannes Classics. Additionally, Denmark’s Mikkel BjĆørn Kehlert (“Maybe in March”) and Finland’s Helmi Donner (“The Lightning Rod”) have been selected for screenings at Cinef.
During casual chats with EbMaster, the leaders of five Scandinavian film organizations reminisce about their most cherished experiences at Cannes and discuss their current objectives. In true Nordic fashion, they are uniting to discuss Framing Democracy: The Impact of Film during a panel scheduled for May 17 at the Cannes Film Market.
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In informal interviews with EbMaster, the heads of five Scandinavian film organizations recount their favorite Cannes memories and disclose their current goals. As is customary in Nordic culture, they are also teaming up to talk about Framing Democracy: The Effects of Film during a panel set for May 17 at the Cannes Film Market.
Danish Film Institute CEO Tine Fischer
In August 2024, Fischer took up the role of CEO at DFI, having previously served as the head of the National Film School of Denmark. She is not only a part of the DFI team but also the founder and former director of CPH:DOX.
Could you tell me about the current state of your community’s film industry, and what major hurdles are on the horizon?
As a dedicated cinephile, I’m thrilled about our forward-thinking Minister of Culture, Jakob Engel-Schmidt, the surge in public film funding, and the emergence of an exceptionally gifted new wave of filmmakers, scriptwriters, and producers. On the flip side, we’re grappling with rising production costs, cinema attendance yet to match pre-pandemic levels, particularly among young audiences, and a staggering growth in personal screen content that’s posing threats to both cinematic experiences and public broadcasting. This is a complex issue without an easy fix; it demands bold innovation, smart policy regulation, and collaboration across various sectors and national boundaries. Tackling this significant societal challenge will be our top priority, and we’ll do so in close partnership with all relevant sectors.
What are your priorities in Cannes?
At Cannes, I’m committed to fostering robust European cooperation. It’s crucial for us to rally and bolster our cultural foundation across Europe ā as vital as ensuring energy security and defense strategies. Together, we must innovate and collaborate to safeguard the cherished values and democratic principles that form the essence of Europe. This includes upholding freedom of speech and maintaining the arm’s length principle. On a practical level, this means forging new partnerships with fellow Europeans, film funds, broadcasters, producers, and filmmakers to design effective action plans.
What are your best Cannes moments?
1998, the year that marked my debut at Cannes and the dominance of Dogme, stands out as unforgettable in my memory. That was the time when Lars von Trier and Thomas Vinterberg graced the Croisette with their groundbreaking films, “The Idiots” and “The Celebration,” which left indelible marks on European cinema history. The sense of cultural pride and exhilaration I felt during that period is something I yearn for once more. Let it return soon!
Finnish Film Foundation CEO Lasse Saarinen
For thirty years prior to his association with the Finnish Film Foundation, he was self-employed as a film producer.
How is the state of your local film industry, and what are the biggest challenges ahead?
The state of our industry exhibits a peculiar blend of success and struggle. Finnish films are thriving in cinemas, accounting for a substantial 38% market share this year so far, and attracting significant international attention. For example, “Niko: Beyond the Northern Lights” has sold approximately three million tickets worldwide. Yet, securing funding within Finland is proving to be more challenging than before, following several years of budget reductions totaling ā¬3 million from 2020 to 2025. Our current budget now stands at slightly over ā¬22 million ($24.5 million), and fortunately, it appears that this funding will remain stable next year. In real terms, our support budget is still ā¬9 million ($10 million) lower than in 2014 when adjusted for inflation.
What are your priorities in Cannes?
In my role as CEO of the Finnish Film Foundation, I’m often engaged in numerous meetings and conferences during my tenure. It’s a pleasure for me, and I eagerly look forward to catching the Finnish minority co-production titled “The Eagle of the Republic,” which is competing in the main competition.
What are your best Cannes moments?
On such occasions, it’s when Finnish films have received accolades, such as Aki KaurismƤki’s “Fallen Leaves” (Jury Prize winner of 2023) and Juho Kuosmanen’s “Compartment No 6” (Grand Prix recipient in 2021).
Icelandic Film Centre CEO GĆsli SnƦr Erlingsson
In the year 2023, I found myself taking on my current role. Prior to this, I held a distinguished position as the director of the esteemed London Film School.
How is the state ofĀ yourĀ local film industry, and what are the biggest challenges ahead?
The Icelandic movie sector is still adjusting to the long-term effects of streaming platforms, and ticket sales haven’t bounced back completely post-COVID. One significant hurdle is determining the realistic number of local films and series we can produce, considering available funding and the capacity of local cinemas, broadcasters, and viewers. Instead of solely focusing on funding, we should have an open, frank dialogue about sustainable production rates. Additionally, potential U.S. tariffs could pose severe challenges for the Icelandic film industry.
What are your priorities in Cannes?
At Cannes, we’re eager to showcase Hlynur PĆ”lmason’s “The Love That Remains” as part of our official lineup – a significant milestone for Icelandic cinema. Additionally, we’re thrilled to collaborate with Nordic film institutes in organizing a panel on democracy and film. This discussion will explore how cinema can uphold democratic values globally. The event will gather perspectives from politics, culture, and civil society, focusing on the role of film in encouraging dialogue and strengthening democratic resilience.
What are your best Cannes moments?
2015 marked a significant moment at Cannes, with the debut of “Rams” by GrĆmur HĆ”konarson. This film won the Un Certain Regard prize and received global recognition for its emotional impact. Its story, while deeply rooted in local culture, has universal resonance, demonstrating how powerful such tales can be on a global scale.
Norwegian Film Institute CEO Kjersti Mo
Previously a journalist and high-ranking staff member at Egmont Publishing, Mo assumed the role of NFI CEO in the year 2019. Additionally, she holds a position within the European Film Agencies Directors Association (EFAD), serving as its vice president.
How is the state of your local film industry, and what are the biggest challenges ahead?Ā
Currently, we’re experiencing a thriving era for Norwegian filmmaking, with talents in fiction, documentaries, and dramas gaining international recognition. The Norwegian Film Institute is dedicated to maintaining this growth by fine-tuning our financial support structure to remain current, effective, and progressive.
Despite an abundance of skilled professionals in the industry, securing funding has grown more difficult because of increasing expenses and changes in market trends. Local movies continue to maintain a 25% share of the market, indicating a strong demand for homegrown narratives. Striking a balance between artistic and fiscal viability is crucial.
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The industry boasts a wealth of talent, yet financing has become elusive due to escalating costs and market fluctuations. Local films continue to capture a 25% share of the audience, underscoring a robust interest in domestic tales. Maintaining both artistic and economic longevity is paramount.
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The industry teems with talent, but securing funding has become tougher due to rising costs and shifts in the market. Local films retain a 25% audience share, demonstrating a strong appetite for native stories. Ensuring both artistic and financial sustainability is essential.
What are your priorities in Cannes?
On May 21st, Joachim Trier’s “Sentimental Value” will have its first showing, a significant achievement for both Norwegian and European filmmaking. We’re additionally organizing two crucial discussions: one about cinema’s influence on democracy [May 17], the other focusing on gender equality and diversity [May 19]. These topics are interconnected and essential to a thriving and open industry. In my role as Vice President of EFAD, I will also lead our General Assembly, commemorating EFAD’s 10th anniversary ā a time to renew our commitment to European collaboration in challenging times.
What are your best Cannes moments?Ā
2021 marked my inaugural Cannes Film Festival as CEO of the Norwegian Film Institute, with the 2020 event having been postponed due to COVID-19. The experience was indelible, serving as a reunion and celebration of cinema following lockdowns. Amongst other notable films, “The Worst Person in the World,” “The Innocents,” and Renate Reinsve’s Best Actress win left a profound impact. The energy was palpable, and while there wasn’t one specific standout moment, it seemed that Norway’s presence on the global film scene was undergoing a significant shift – a sense of transformation, if you will.
Swedish Film Institute CEO Anna Croneman
In 2024, Croneman took on the role of CEO at the SFI, a position he earned following his seven-year tenure as the head of drama at Sweden’s public broadcaster, SVT.
How is the state of your local film industry, and what are the biggest challenges ahead?
At the moment, the film industry isn’t thriving due to a noticeable drop in funding for films during the height of television dramas. However, producers and directors are actively working on strategies to rejuvenate the film sector. Currently, Sweden’s new government is seeking opinions through an inquiry regarding films. If these suggestions are implemented as policy, the future appears more promising with numerous intriguing projects waiting in the wings for development.
What are your priorities in Cannes?
I’m attending numerous meetings, conversing with people who are brainstorming about the future direction of cinema. My main focus is to gather insights from as many intelligent minds as possible. It’s exciting that a remarkable Swedish film, “The Eagles Have Landed,” is contending for the Palme dāOr, and the documentary “Being Bo Wideberg” about my beloved Swedish filmmaker Bo Widerberg is being showcased in the Cannes Classic section.
What are your best Cannes moments?
2022 stood out as an exceptional year, with Tarik Saleh’s “Boy from Heaven” and Ruben Ćstlund’s Palme d’or winner, “Triangle of Sadness,” competing in the main event. Both screenings were enchanting, capturing a unique magic that I won’t forget easily. Additionally, I vividly recall witnessing Andrea Arnold’s debut, “Red Road,” which introduced me to an artist whose work I continue to admire greatly.
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2025-05-15 10:19