Haugesund’s New Nordic Films that just ended is usually a major market for you to prepare the autumn releases with distributors and scout new projects. How have you experienced this hybrid edition?
Susan Wendt: Haugesund has always been a key place to meet producers and discuss upcoming projects, not so much to meet distributors. The works in progress session in particular is very important. Two of our reps were there on-site and had quality time with producers so it was very beneficiary.

For new films that are ready for the fall festivals and markets, how do you decide those to launch at an online market/festival and those that you’re keeping under wraps? Can you give specific examples?
SW:Firstly, due to uncertainties around festivals, some of our films have slowed down their closing process and are spending more time in postproduction. For arthouse films where you really need a festival for branding and to create a buzz, it’s too risky to launch them only at a digital festival.

The insecurity around distribution also means that we prefer to push those films for next year. This is the case for instance with the Norwegian film Ninja Baby [by Yngvild Sve Flikke]. It was normally lined up for an international launch at an autumn festival that would have coincided with the domestic release, but now the local release has been delayed to next year, and we’re aiming for a festival launch early 2021, which gives the director more time to lock the postproduction.

For films with a strong pedigree, we use a different strategy. Another Round was pretty much pre-sold everywhere, thanks to Thomas Vinterberg’s brand name, and the Cannes label gave it even more visibility. We were therefore confident enough to launch it at the Cannes Market with closed market screenings, then it will have its international premiere at Toronto, followed by a competition slot in San Sebastian.

Martin Zandvliet’s The Marco Effect based on Jussi Adler-Olsen’s ‘Department Q’ crime book, is strong enough to sell without a festival platform. Filming in Prague was interrupted due to the lockdown, and producers had to bring everyone back to Denmark. They’ve just finished shooting now and entered post. Originally the film was supposed to be released locally in October but the opening has been rescheduled for February/March 2021 and we’ll go for the spring festivals 2021. Commercial prospects look very strong.

Among other high-profile films, Anders Thomas Jensen’s Riders of Justice has always been set for a local release in Denmark end of December. Filming stopped just before the lockdown, so getting it ready for Toronto would have been really tight. We will also wait until next year to launch it internationally.

How is the pre-sales market?
SW: During Cannes market, we did a special presentation, with promos and an update on shootings etc. We were able to sign pre-sales on certain films. Some distributors were hopeful that the Covid-19 situation would improve by the autumn. As it’s not really the case, we’re waiting to see how they will now readjust their acquisition strategy. We’ll speak to buyers during Toronto. This is the next big meeting place with global buyers after Cannes, but apart from that, the in-between markets contact with distributors is much more intense now.

Then for the online AFM [American Film Market -November 4-11], we will possibly create new promos and new updates on our slate.

Do you have a bigger staff working on marketing materials for online presentations?
SW: Usually, we do everything in-house, and today, with less money coming in from distributors and payments often delayed, we try to be even more creative. Also, we spend our time and money in a different way. For instance, we’re not doing a printed catalogue that we would have done normally for Toronto. On the other hand, we’re spending more time on personalised mailing out to distributors on recent and upcoming films. We’ve also launched an Instagram account to be more active on social media.

Have you modified your sales contracts due to the unstable market for distributors?
SW: For new deals, we accept straight VOD releases, instead of requesting theatrical first, otherwise you can lose a deal. Even in strong theatrical territories such as the Netherlands, distributors have started to experiment more with straight to VOD releases due to Covid-19.

Do you think the pandemic will have long term effects on windowing and hold back strategies?
SW: Definitely. I think that territories with fixed windows will become more flexible and the European industry will start to consider distribution models that they refused to accept before Covid.

What type of films are hot these days? Has the pandemic exacerbated trends on the market?
SW: Genre titles are hot items as they are not review-led and work both on digital and theatrical. Then big auteur films continue to attract pre-sales and sales. I thought there would be more activity on our back catalogue during and after the lockdown, but that hasn’t really been the case. There is still optimism among buyers who believe things will change. Where I feel the loss has been biggest is for the small arthouse films that have something special to tell and need festivals to travel and distributors on board. 

Are you re-evaluating the number/type of titles on your slate, and overall business model, with perhaps a larger intake of TV dramas?
SW: We evaluate every project carefully-all the more in today’s difficult times. In terms of projects by first time directors, we need a really strong story and a good production team behind it. But we’re always open to innovative projects from rising talents.

Regarding TV drama, we definitely want to widen our slate, while remaining very selective in regards to the projects. We’ve picked up for instance Twin, that has worked very well for us. Nevertheless, film remains our core business for the time being.

As an active member of Europa International, what major issues are you working on to attract public institutions’ attention?
SW: Today every part of the film value-chain is being affected. The key issue these days is finding a way to help sales agents, distributors and producers with their cash flow. We’re in discussions with Creative Europe to see how their current support system can be adapted to the Covid-times and we’re in constant talks with Europa Distribution, the European Producers Club, Europa Cinemas and various national bodies. We all have to show flexibility to get through this crisis the best possible way.

On a Nordic level, what type of support would be most useful?
SW: There isn’t much support to sales agents and I wish our sector would be considered as an integral part of the industry. A former initiative like Nordisk Film & TV Fond’s ‘High Five Distribution’ was a great incentive for foreign distributors to acquire Nordic films. It made a big difference. But of course, there are other priorities today.