Anna Bache-Wiig and Siv Rajendram Eliassen talk about how they co-work “like an old couple”, how Quisling evolved into both a series and a film, and how limitations can foster creativity.
Jemina Jokisalo talks about how she challenged stereotypes about sex workers in her dramedy series Money Shot, and what it takes for a team to find the right balance between humour and deeper emotions.
A good year for art house and a lesser year for audience numbers mark the Swedish film year of 2024. As for 2025, the Swedish film industry looks forward to the outcome of the national government film inquiry, presented in March.
Thomas Vinterberg and Bo Hr. Hansen on how the story of Families Like Ours began in a Paris hotel room and how they collaborated to craft an emotional, character-driven story rooted in family and the realism of the climate crisis.
A well-travelled profile on the Nordic scene, Pia Lundberg now enters a new career chapter, and has just presented the programme for the 48th edition of the Göteborg Film Festival.
New Danish industry report analyses the future competence needs for fiction and television production, pointing to educating broader creative profiles and better leaders.
How an indie Finnish CGI animation outfit founded by three pals from art school turned into a major beast in Nordic animation thanks to a series of features about a flying reindeer.
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.
The successful Danish producer talks about the international potential of Sons, what she learned as a Producer on the Move at Cannes 2024, and her new collaborations with Lars Knudsen and Ari Aster.
The Icelandic writer/director, whose film opened Un Certain Regard in Cannes, talks about the beauty in the tragic and how he created his poetic film When The Light Breaks.