Annual Report 2024

Administration
CEO: Liselott Forsman
Senior Advisor Legal & Strategy: Lise Løwholm
Senior Advisor Fiction: Torleif Hauge
Senior Advisor Documentary: Karolina Lidin
Web Editor/System Admin: Mathias Kallum Ferre
Accounting & Administrative Officer: Phuong Hoang Nguyen
Intern: Alina Huldén (to September), Lina Nystrand (from September)

From a European perspective, domestic ticket shares are generally quite high in the Nordic region, and in 2024 the share was especially high in Finland, where 31.6% of the tickets were sold to Finnish films. Next in line came Denmark (23%), Norway (22.3%), and Sweden (22.2%). In 2023, Sweden and Iceland, the Nordic countries with the most (10.5 million) and least (0.4 million) inhabitants, had the same share (17%), but in 2024 the Swedish domestic share was up and the Icelandic down (to 11.3%).

2024 was a year of internationally active female producers in the Nordics. In all top financing categories, more female than male producers received NFTVF support. There was also a switch from male to a (narrow) female dominance among writers of supported productions. Men still dominated as directors, but on the fiction side their share decreased radically, going down from 70% to 55%. Surprisingly, the male dominance increased among documentary directors. However, since the number of titles are fewer, random variations can have an impact on the statistics.

After the pandemic, the need for strategic pan-Nordic industry talks became evident, and since 2022 all NFTVF’s partners are invited to two yearly strategic days across industry and country borders. In 2024, Nordic challenges and solutions were shared and working groups formed to increase collaboration in commissioning kids’ content, boosting Nordic fiction, and co-producing documentaries.

NFTVF’s theme years that started in 2021 put a special focus on questions that benefit from pan-Nordic talks and actions. Some efforts continue after a theme year. The Nordic Green Action Group, founded during our 2023 theme year “Nordic Green”, kept meeting in 2024 to discuss concrete measures, such as a shared ecological standard. Together with the Five Nordics, the Fund financed research for such a standard. Our new application system asks applicants to submit possible sustainability plans, and in 2024 more than half the applicants did, which also benefitted the green research.

During the Fund’s 2024 theme year “Talent in the Age of AI”, we participated actively in international strategic AI think thanks and panels, and organised our own pan-Nordic discussions and surveys. NFTVF completed a survey with Nordic scriptwriters in June 2024, which showed that only one third of Nordic writers used AI tools at that time, and many worried about rights issues. In December 2024, NFTVF summoned legal experts from all Nordic countries to a digital panel on AI legislation, which was published online.

The tradition of building bridges between film graduates and the Nordic industry at the NFTVF’s well appreciated Nordic Talents event continued successfully in 2024. As did the third round of Nordic Script, our popular mentoring and networking lab for Nordic scriptwriters and creative producers.

In the spring we started a fruitful partnership with UK moderator and journalist Wendy Mitchell, which resulted in the launch of the podcast series Nordic Film Talks. The idea is to build an audio library of in-depth discussions with our region’s top talents and other interesting industry voices. The guest of the very first podcast was Swedish director Magnus von Horn. His Danish film The Girl with the Needle (Pigen med nålen) premiered in May in Cannes, and collected a bunch of international awards along the year.

Among other internationally successful Nordic films in 2024 were Icelandic Rúnar Rúnarsson’s When the Light Breaks (Ljósbrot) and Swedish Levan Akin’s Crossing (Passage), which both won multiple international awards. Finnish Tiina Lymi’s Stormskerry Maja (Stormskärs Maja) won Best Film at BCN Film Fest in Barcelona, and became the year’s most watched film in Finnish cinemas. A big discussion theme of 2024 has indeed been how to create high quality formats with good audience reach.

Two Nordic productions that also created an industry buzz were produced by the same Norwegian production company, Motlys. The Nordisk Film & TV Fond Award for outstanding series writing went to the company’s political drama series Power Play (Makta), created by Johan Fasting, Kristin Grue, and Silje Storstein. The series, commissioned by NRK, renewed period drama storytelling. At the Berlinale, Motlys premiered the film Sex, the first part of writer-director Dag Johan Haugerud’s triology Sex Dreams Love (Sex Drømmer Kjærlighet). The film won a bunch of international awards in 2024, among them the Nordic Council Film Prize, which Haugerud received together with producers Yngve Sæther and Hege Hauff Hvattum.

Two Oscar nominated directors created unique family stories with environmental themes when debuting in new narration forms. Danish Thomas Vinterberg’s previous film Another Round (Druk), won an Oscar. His first drama series, Families like Ours (Familier som Vores), renewed the catastrophe genre by avoiding disaster scenes. US born, Danish based Joshua Oppenheimer, twice Oscar nominated for his documentaries, premiered his first fiction film in 2024. The unique post-apocalyptic musical The End offers no easy escapism.

The failing relationship between people and nature were likewise present in successful Nordic documentaries in 2024, as were global political crises. Finnish Virpi Suutari´s Once Upon a Time in a Forest (Havumetsän lapset) follows a group of activists fighting against climate change, while Swedish Göran Hugo Olsson‘s Israel-Palestine on Swedish TV 1958-1989 (Israel Palestina på svensk TV 1958-1989) analyses 30 years of SVT’s media coverage of the conflict.

Productions for young audiences traditionally focus on friendships and relationship, and today the digital world is entering them in fascinating ways. One of the most awarded series was Norwegian Jakob Rørvik’s youth series Dates in Real Life, which combines virtual and live-action storytelling. It won the Best Series award at Series Mania in Lille, Prix Europa’s Best European Fiction Series in Berlin, the Rose d’Or Comedy Drama Award in London, and two awards at Valencia International Film Festival. Another youth series to celebrate is Shut Up (Oro Jaska). The series, created by Silje Bürgin-Borch and Vegard Bjørsmo, is the first Sámi youth series in 30 years, and one of many recent productions enabled by the strategic work of the International Sámi Film Institute and its long-time collaboration with NRK and NFI.

Today, viewing habits change fast, and it is essential to keep updated with the young Nordic generation. Since September 2023, NFTVF has collaborated with The Swedish Cultural Foundation in Finland (Svenska kulturfonden i Finland) on the foundation’s grants for year-long internships. It has been extremely rewarding to have insightful young professionals in our office in Oslo. Our current intern, 23 year old journalist Lina Nystrand, who wrote her thesis about TikTok, has written stories from the point of view of her age group, and updated NFTVF’s research on how to best reach Nordic young audiences on social media.

During our 2022 theme year 20-something, we asked upcoming film makers what was lacking in our Nordic industry. Many wished for braver genre commissioning and alternatives to “the traditional, bleak realism.” Some predicted that change might be on its way, and they were certainly right on basis of what has been put into production in 2024.

Today there is no lack of Nordic productions that dive into psychological and/or societal themes through a variety of genre mixes and new formats such as a joik musical or a feminist body horror film. Have our restless times increased the need for important themes in more entertaining forms? All in all, we can look forward to exiting series formats, to new films by unique Nordic voices and to an even strengthened collaboration mood in 2025.

This text is long enough, so please check the chapters on Fiction, Documentaries and C&Y for what upcoming trends and titles to keep an eye on.

And once again, I must end by hoping for a more Peaceful World in 2025.

Based on the applications in 2024, we can look forward to Nordic films and drama series that renew our storytelling. New works by unique Nordic voices include the third film in Swedish Tarek Saleh’s Egypt-trilogy Eagles of the Republic, which analyses a totalitarian regime from the point of view of a popular film actor, and Norwegian Joachim Trier’s upcoming film Sentimental Value, which analyses the reconciliatory power of art, focusing on a director-father’s and actress-daughter’s relationship. Icelandic Hlynur Pálmason is working on two personal and poetic films. On Land and Sea (Hav og land) is produced in Denmark. It studies a richer Danish family and a poorer Icelandic one, while his upcoming Icelandic film The Love that Remains (Ástin sem eftir) explores the impact of shared memories and the complexities of love and family. Memories also play an important part in Amanda Kernell’s new Sámi film The Curse – a Love Story (Garrat du váimmu), which combines a love story with horror elements and a curse put on a young female reindeer herder. In his film Kalevala - The Story of Kullervo (Kalevala: Kullervon tarina), director Antti Jokinen dives into the young and self-destructive Kullervo, one of the main characters in Finland’s national epic Kalevala.

As in 2023, many stories supported in 2024 are inspired by events and/or characters in our near history. Norwegian Ingvild Søderlind’s film The Killing (Drapet på Benjamin Hermansen), based on a real-life tragedy in 2001, examines how a young man becomes a racist killer. Upon the film, a drama series about the racist murder is produced in 2024. The series Holmlia Love, written by Mikael Diseth and Lev David, focuses on the victim’s friends and family and on the healing process through love within the Holmlia community. Another Norwegian series that dramatises near-history crime is Escaping Bolivia (Flukten fra Bolivia), written by Emilie Beck. It tells the story of three young women who were caught trying to smuggle 22 kilos of cocaine from Bolivia to Norway in 2008. The Swedish mini-series Golden Boys, written by Erik Hultkvist goes back to the late 1990s to study one of Sweden’s most infamous financial heists.

Norwegian Hans Petter Moland’s film Growth of the Soil (Markens Grøde) is based on Knut Hamsun’s Nobel Prize-winning novel. Isak and Inger manage to build a life and family in rural Norway through their hard work, but tragedy strikes when there is little acceptance for a child born with a cleft lip. Celebrated Danish writer-director Martin Zandvliet is creating his first drama series Harvest (Høst), a family story about the need for unity when a patriarch passes over the farm to his youngest daughter.

Realism is, however, no longer dominating Nordic storytelling. In 2024 applications and supports showed a high representation of genre films. Societal issues are researched with genre-blending techniques in Norwegian Emilie Blichfeldt’s The Ugly Stepsister (Den Stygge Stesøsteren). The film offers a shocking retelling of the classic Cinderella story, tackling the societal pressures on women’s appearances through a combination of body horror and comedy.

Finnish writer-director Ilja Rautsi mixes horror with comedy in his vampire film Red Snow. Johanna’s search for a vampire prince leads her into a chaotic world of love, hatred, and fountains of blood. More blood is to be expected in the Swedish series The Cruise (Färjan), based on Mats Strandberg’s horror novel, which studies family dynamics on a Stockholm-Helsinki ferry. A dream cruise turns into a nightmare when the passengers face ancient vampires out on the frozen sea, with nowhere to run. The Danish-Faroese horror film No Rest for the Wicked, directed by Kasper Kalle Skovsbøl, is based on Karl Heinrich Ulrichs’ gay vampire love story “Manor” from 1885. Chaos erupts when a fisherman rises from his grave on the Faroe Islands in search of an unfulfilled love.

Norwegians have long mastered the disaster genre. Norwegian director Pål Øie’s upcoming film Kraken explores the tragic effects of climate change through a classic disaster narrative rooted in Nordic mythology. Icelandic Ugla Hauksdóttir’s film The Fires (Eldarnir), based on Sigríður Hagalín’s novel, combines the dangers of a volcanic eruption with a relationship crisis. Two sci-fi titles were supported in 2024. Norwegian Jens Lien’s film Joe’s Assignment (Oppdraget) examines a dystopian future where AI replaces humans. In Swedish Lars Lundström’s sci-fi series We Come in Peace (Vi kommer i fred), a biologist must navigate public hysteria and political corruption to prevent the Americans from starting a war of the worlds.

Today’s suspense series often introduce a combination of mystery/crime and family/relationship stories. The Swedish series Jag for ner till bror (My Brother) is a mystery drama based on a novel by Karin Smirnoff. Jana Kippo is torn between two men. Is one of them a killer? The Icelandic crime series Reykjavík 112, written by Björg Magnúsdóttir and Óttar M. Norðfjörð, centres on the investigation of a brutal murder, with the only witness being the victim’s seven-year-old daughter. The Danish series Excavation (Danefæ), written by Lars K. Andersen, Dunja Gry Jensen and Per Daumiller, combines a modern-day relationship drama with an archaeological murder mystery. Another crime-connected mystery is the Finnish suspense series The Crashing (Kolari) created by Anna Äärelä. A car crash brings together the lives of four strangers while the mystery behind the accident is unravelled.

The digital world increasingly shapes our everyday living. This was also reflected in series that received NFTVF support in 2024. The Norwegian series Requiem for Selina (Rekviem for Selina), written by Emmeline Berglund, explores the rise and the darker sides of the Norwegian influencer industry, while creator Thomas Seeberg Torjussen’s series A Better Man (Ølhunden Berit) follows a misogynistic Internet troll who is forced to dress up as a woman, having been exposed by hackers himself. The Swedish film Weird Elliot, directed by Johanna Nyholm, deals with both old and new digital worlds. Its main character is an autistic vlogger who uncovers traces to a past tragedy on an old VHS tape.

Dark and challenging themes are well represented in the 2024 applications. Comedy is rarer, but there are still some warm-hearted stories to look forward to, such as Swedish Hannes Holm’s film Let it Rain (Regnmannen), about a widower who discovers magical powers that could help him repair his relationship with his daughter, or in Danish Hella Joof’s upcoming romantic comedy Nøjsomheden, which also covers serious themes, like class differences and cancer in the family.

Humour is certainly also present in a 2024 co-production between Iceland and Finland. The dramedy Everybody Loves Horses, written by Hugleikur Dagsson and Tarja Kylmä, depicts the love story between an Icelandic horse farmer who hates tourists, and a Finnish tourist terrified of horses. In Norwegian Henriette Stenstrup’s dramedy series Nepobaby, a young woman unexpectedly inherits one of Norway's oldest and wealthiest shipping dynasties and a bunch of new relatives. Finnish writer-director Tiina Lymi’s suspense series Queen of Fucking Everything represents a darker sort of comedy. An estate agent who is betrayed by her husband turns to crime to avoid ending up poor. The series is defined as “crime-without-police”. Thus, it also represents the sort of innovative genre mix that strongly marks Nordic titles supported by NFTVF in 2024.

Both urgent and cinematic stories of our time are also very present in the slate of projects supported by NFTVF in 2024. Climate change is dealt with from three very different perspectives in the Danish film Only on Earth by Robin Petré, about animals and humans struggling against the fires of Galicia; the Danish Fire, Water, Earth, Air (Ild, vand, jord, luft) by conceptualising director Phie Ambo together with Ewa Cederstam (Sweden), Rogvi Rasmussen (The Faroe Islands), and Janne Lindgren (Norway), about local communities navigating climate change; and the Finnish Lessons in Fire (Tulikaste) by John Webster, following Finnish firefighters honing their skills in the raging fires of Portugal. Ongoing conflicts are depicted in the Danish Mr. Nobody against Putin by David Borenstein, about a Russian rural school teacher's documentation of pro-war propaganda in schools, while the art of diplomacy is highlighted in both Norwegian Facing War by Tommy Gulliksen, closely following Jens Stoltenberg during his last years as NATO Secretary General, and Finnish The Helsinki Effect by Arthur Franck, an all-archival fever dream about the Helsinki Accords in 1975. Also to be highlighted are the two unflinching films The Arctic Circle of Lust (Pohjoinen intohimo) by Markko Heikkinen and Norwegian Fatherhood (Tre fedre) by Even G. Benestad and August B. Hanssen, the former about hidden bisexuality and the latter about a trans-throuple family - both taking place in the rural Nordics far from the bustling city wokeness.

While it is a common denominator of NFTVF-supported documentaries no matter the subject that the directors' voices and visions are paramount, two documentary auteurs stand out with their cinematic signatures and time-proven oeuvre. Danish Michael Madsen's Architecture as Invention challenges world renowned architect Daniel Liebeskind to join him on an artistic adventure outside his comfort zone. And Swedish Ester Martin Bergsmark continue their journey exploring queer perspectives on the human condition in A Sweetness from Nowhere (En ljuvlighet från ingenstans), this time delving deep into questions of primeval vulnerability across time, species - and genres.

Most of the 2024 C&Y fiction applications were based on well-known children's books and other IPs. An exception is Norwegian Martin Lund’s adventure film Kaya the Unstoppable (Kaja den store). The animation film’s main character Kaya is an empathic cancer cell in a 10-year-old boy’s body. She lacks the ability to mutate, and sees this as a weakness, until she learns that not mutating saves the boy’s life.

Patrik Forsberg’s animation Handbook for Superheroes – Red Mask (Handbok för Superhjältar – Röda Masken) is based on Elias and Agnes Våhlund’s book series about a 10-year-old girl who discovers a handbook teaching superpowers. Another Swedish action animation, Linda Hambäck’s Me, Dante and the Dump (Jag, Dante och miljonerna) tells the story of a neat bank employee who has his world shaken when the bank is robbed. The film is based on Frida Nilsson’s children’s book.

Tales about unexpected friendships are recurring patterns in supported films, including the Danish film Lotte & Totte: My First Friend (Lotte & Totte – Min første ven), directed by Christian Kuntz and Mia Haarup Hagner Fridthjof, based on Gunilla Wolde’s children's books. Norwegian Flåklypa: From Paris to the Pyramids (Flåklypa – Fra Paris til pyramidene), directed by Rasmus Sivertsen, tells the story of three unlikely companions who embark on a legendary race. The original script is brought to life through animation based on the famous Flåklypa IP created by Norwegian illustrator Kjell Aukrust.

The Danish film Curly Burly (Krølle Bølle), directed by Jan Rahbek, combines live action, puppet animation and 3D in new ways. In this action adventure, the troll community feels threatened by humans. Also Norwegian Henrik Martin Dahlsbakken’s comedy A Mousehunt for Christmas (Hvis ingen går i fella) combines animation and live action in a hilarious way.

Among live actions to look forward to, we find Alain Darborg’s The Villain of Villains (Skurkarnas skurk). This Swedish comedy is based on a special IP, a book series written by YouTube trio IJustWantToBeCool. The story centres around a 12-year-old girl who fails the entrance exam for the Hero School and decides to infiltrate the Villain School instead. A live action film in a quite different mood is the Norwegian Stargate (Stargate – en julefortelling), in which a family deals with alcoholism during Christmas time. The film is based on script writer Ingvild H. Rishøi’s own book by the same title.

Today, not only books are turned into films, but also other IP. Astrid Lindgren wrote the script herself for the classic drama series Life on Seacrow Island (Vi på Saltkråkan, 1964) and script writer Karin Arrhenius’s new version of the series is based on this original script. The Swedish mini-series The Scarab Flies at Dusk (Tordyveln flyger i skymningen) is based on a radio drama series from 1976 that was later published as a book. The new TV series script is written by Birgitta Bongenhielm.

As in other fiction in 2024, true events inspired a lot of the C&Y productions that applied for support in 2024. The drama series Requiem for Selina (Rekviem for Selina), written by Emmeline Berglund, is inspired by the early influencer industry in Norway, including its tragic consequences.

Among Nordic productions targeting younger audiences that received international recognition in 2024 could be mentioned Camilla Magid’s coming-of-age documentary Fighting Demons with Dragons (Med drager mod dæmoner), which follows three teenagers at a Danish boarding school that uses live-action role play as an educational method.

Among productions with a broad Nordic co-financing could be mentioned the Swedish animation film Super Charlie, directed by Jon Holmberg and written by him and Camilla Läckberg on the basis of her book series. The story follows the siblings Wille and Charlie as they team up to fight villains. The film opened at Christmas time in Sweden and will premiere in other Nordic countries in 2025.

Close to 30% of NFTVF’s distribution support went to films targeted at children and youth. Among films that have reached broad Nordic audiences could be mentioned the Danish The Children of Silverstreet (Börnene fra Sølvgade), directed by Mehdi Avaz, and the Sámi youth film My Father’s Daughter (Biru Unjárga – Føkkings Nesseby), directed by Egil Pedersen.

Both were top financed by Nordisk Film & TV Fond. However, earlier NFTVF financing is not required for a film to get distribution support. To be eligible for distribution funding, a film must have gathered positive reception from national audiences and/or have a significant audience potential within its target group.

Filip Hammar and Fredrik Wikingsson’s documentary The Last Journey (Den sista resan) set audience records in Sweden, which triggered interest from neighbouring Nordic countries. With the help of NFTVF’s distribution support, could reach even broader audiences.

Among the other documentaries that received distribution support were the Finnish ISMO – Breaking Bad English (Ismo - maailman hauskin ulkopuolinen) by Illka Hynninen and Saku Pollari, the Norwegian A New Kind of Wilderness (Ukjent landskap) by Silje Evensmo Jacobsen, and the Swedish Some of Us Walk in Raggedy Shoes (Somliga går med trasiga skor) by Magnus Gertten and The Gullspång Miracle (Miraklet i Gullspång) by Maria Fredriksson.

In addition to traditional activities like social media efforts and inviting filmmakers for Q&As at premieres, the financing from NFTVF in many cases enables distributors to tailor the marketing efforts for special groups and/or territories, which increases the cross-border interest in Nordic films.

From 2025 on, there will be some changes in NFTVF’s distribution guidelines. For more information, check the renewed guidelines online.

Two live action films got dubbing support and both were based on popular C&Y books: The Finnish film Snot & Splash (Räkä ja Roiskis) by Teemu Nikki, and Tina Mackic’s JerryMaya's Detective Agency - The Lost Mascot (LasseMajas detektivbyrå - Maskoten som försvann), the latest addition to the Swedish film series.

The winner of the Nordisk Film & TV Fond Prize 2024 was chosen by an international jury consisting of actor Joel Spira (SE), producer Kateryna Vyshnevska (UA), journalist and film critic Charlotte Winberg (FI), and editor, producer and screenwriter Vinca Wiedemann (DK). The Norwegian political near-history drama series Power Play was selected the winner.

The jury’s statement: “Choosing a winner from a diverse array of such high-quality drama has been both a privilege and a pleasure for us, the jury. The nominees have been diverse: from politics to human despair, from love for a mother to a tragic disaster at sea, from families to co-workers to friends and enemies. But the series that captured us the most was the one that managed to embrace seemingly dull historical facts with humour and playfulness, and that depicted an epoch of political history with all the nuances of human idealism and flaws. Power Play stayed loyal to its essence of truth, lies and poor memory.”

Throughout the autumn season, NFTVF organised official screenings of the nominated films in collaboration with various partners in all the Nordic countries. The Norwegian and Finnish screenings were arranged in collaboration with film festivals: the Norwegian International Film Festival in Haugesund, the Oslo Pix Festival, and the Helsinki International Film Festival. In Copenhagen, Reykjavik and Stockholm, public screenings of all the nominated films were organised as special events.

All Nordic Council Prize winners were presented in a TV special, produced by RÚV, and distributed linear and online in the Nordics on the evening of October 22. The chairs of all the national juries were summoned to a Nordic jury that selected the winning film. The members of the Nordic jury were: Professor Heidi Hilarius-Kalkau Philipsen (DK), Executive Director of Finlandssvenskt filmcentrum Mikaela Westerlund (FI), Chairperson of Film Greenland Klaus Georg Hansen (GL), producer Jóna Finnsdóttir (IS), and the journalists Inger Merete Hobbelstad (NO) and Emma Gray Munthe (SE).

Of the six nominated films, the jury selected Norwegian writer-director Dag Johan Haugerud’s Sex to be awarded. The film is the first part of Haugerud’s film triology Sex Love Dreams.

The jury’s motivation: “Sex is never just sex. Nowhere is that more evident than in Sex, director and writer Dag Johan Haugerud’s philosophically inclined comedy. In this story of two friends, who discover that their sexuality and gender can expand in surprising ways, the film makes the case that life is fluid and the world is constantly being rearranged. It does so cleverly, compassionately, and hilariously. Sex is produced by Yngve Sæther and Hege Hauff Hvattum for Motlys.”

The winners of the Nordic Council Film Prize 2024, and the other award recipients, were invited to the Nordic Council’s session and award ceremony in Reykjavik, Iceland a week after the announcement. The programme included cultural and social engagements, highlighted by a discussion on Nordic culture with the president of Iceland, Halla Tómasdóttir.

In september 2024, a new round of Nordic Script started in Oslo with 13 new participants from all the Nordic countries, selected from a record number of applicants.

Info on the pitched projects is available on the renewed website Nordictalents.com.

In keeping with tradition, the pitches were followed by a professional conversation with the jury, moderated by NFTVF’s Karolina Lidin. The NT jury 2024 members were writer/director David Herdies (SE), CEO and Creative & Executive producer of Apple Tree Productions Piv Bernth (DK), film commissioner at the Norwegian Film Institute Cecilie Aspenes (NO), writer/director/producer Miikko Oikkonen (FI), and Commissioning Editor NDR Sabine Holtgreve (DE).

The jury awarded the film project Cold Response, with the following statement: “A story about loss and grief. It is a very personal story, but accessible and relatable at the same time. The jury also enjoyed the self-reflective shift of perspective. The graduation film already proved the winner’s ability to communicate a clear vision and to handle the nuances of a complex story. At a time when war unfortunately is present everywhere, the jury highly appreciates the winning film’s different and fresh take on the war theme. A beautiful love letter from a sister to a brother.”

The winner of the Pitch Prize 2024 was director Ingvild Dahlgren from The Norwegian Film School. From the same school, scriptwriter Atchy Konesh won this year’s Special Mention for his series project Jordan.

The Board consists of five members, one from each Nordic country, with insight into NFTVF's areas of work. At least two board members must have competence in the field of film, and at least two in the field of television. The Board of Directors is appointed by the Nordic Council of Ministers.

The Board of Directors held three board meetings: March 21st, June 26th, and November 7th.