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.
Arnór Pálmi Arnarson and Jóhanna Friðrika Sæmundsdóttir’s discuss how The School of Housewives is inspired by a real institution in Reykjavík, and how they turned the drama series into the 30-minute format.
Göteborg Film Festival’s Head of TV Drama Vision, Cia Edström, and Head of Industry, Josef Kullengård, reveal what’s new at upcoming Nordic Film Market and TV Drama Vision and why the events matter.
The Norwegian gathering honoured three Nordic productions: Dag Johan Haugerud’s Love, Liselotte Wajstedt and Marja Helander’s In My Hand, and Åse Svenheim Drivenes’ Teenage Life Interrupted.
Pelle Rådström’s dream project Pressure Point came to him by a coincidence. He reflects on how ambivalence can shape a powerful narrative, and on the ethical dilemmas of turning reality into fiction.
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.
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.
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.
The documentary Mr. Nobody Against Putin, a Czech-Danish co-production, will have its world premiere at the Sundance Film Festival on Saturday, January 25.