One year into the job and in light of the recent national film inquiry, the new CEO of the Swedish Film Institute discusses visions, missions, concerns, ruckus, unrest, and putting her all into getting Swedish film back on track.
Take the Money and Run will screen in the Spotlight Documentary strand, whilst The End of Quiet and An Eye for an Eye will be showcased in the Documentary Competition.
From satirical inheritance dramas to military dorm-room banter and CIA conspiracies, Nordic genre-defying series in Cannes proves the region’s creative output as anything but predictable.
The Icelandic star on combining domestic and international work: his new company ACT4’s first series, Reykjavik Fusion, and his roles in US hit series Severance and Somebody Somewhere.
The Icelandic writer/director talks about moving into TV with The Danish Woman, why he likes headstrong women, and how he tries to pull the carpet from underneath the audience.
The Danish actress discusses her complex characters, like the infamous criminal in Oscar-nominated The Girl With The Needle and a woman recovering from a stroke in Berlinale premiere Beginnings.
As The Ugly Stepsister premieres in Sundance, the ambitious Norwegian debut film’s writer/director and veteran producer discuss financing and adding feminist body horror to the classic Cinderella fairytale.
The director and produce, known for their documentaries, reveal how Jacques Demy and an oil tycoon’s secret bunker inspired their ambitious first fiction feature, The End, a six-country co-production with a budget of about $17m.
The head of the International Sámi Film Institute talks about boosting indigenous filmmaking through smart collaborations with Netflix, Disney, NRK, Telefilm Canada and more - and she reveals what’s next for Sámi filmmakers.
Finnish producer Aleksi Bardy is proud of the Nordic elements that Helsinki Filmi could bring to the adaptation of Tove Jansson’s The Summer Book that stars Glenn Close and Anders Danielsen Lie.
The Danish director has wanted to make a TV series since 1998; he explains why Families Like Ours offered the gravitas he wanted to explore across seven episodes.
The Swedish writer-director wanted to avoid biopic cliches for The Swedish Torpedo and instead find a modern approach to a very feminist story from 1939.