EFM 2026 wrap: Nordic sales agents and distributors navigate a selective market

The 2026 edition of the European Film Market closed on 18 February with a reported 5% increase in participation and more than 12,500 professionals attending its venues. For Nordic distributors and sales agents, however, the story of this year’s market was less about volume and more about selectivity: acquisitions were cautious, negotiations prolonged, and distribution strategies increasingly shaped by festival positioning, audience targeting and geopolitical uncertainty.

Buyers active—but more selective

Several Nordic distributors reported full meeting schedules and ongoing negotiations, yet relatively few deals closed on the spot. TrustNordisk Sales Director Nicolai Korsgaard described “a very busy start to the year, with lots of meetings - and buyers looking for content”, noting that deals had been closed and others were still being negotiated around titles such as May el-Toukhy’s Woman, Unknown (Kvinde, ukendt), Arild Frölich’s Vampyr, and Nikolaj Arcel’s My Fairytale Life (Mit livs eventyr).

From a distribution perspective, Danish outfit Camera Film emphasised continuity rather than expansion. “No signed deals, but digging further into projects, which we are already discussing,” said Kim Foss, adding that the market atmosphere around Work-in-Progress and Discovery screenings felt inherently optimistic, driven by filmmakers “brimming with ideas and ready to put action behind the words”.

Still, other buyers were more critical. Norwegian distributor Frank L. Stavik of Fidalgo said his company had made very few acquisitions beyond a pre-bought title, arguing that the EFM programme had become overcrowded with seminars and side events. He warned that “it’s almost as if the core of the market – the buying and selling of films is no longer important”, a sentiment that reflects wider concerns among arthouse distributors about shrinking theatrical prospects.

Nordic presence strong, but festival-driven

Nordic films continue to “punch above our weight”, in Foss’s words, with Norway singled out as particularly visible. Yet distributors emphasised that many Nordic titles remain strongly tied to festival circuits rather than immediate theatrical potential.

Sweden’s NonStop Entertainment acquired Andrei Zvyagintsev’s forthcoming Minotaur while negotiating further titles, illustrating a strategy focused on carefully selected theatrical releases. Jakob Abrahamsson observed that “projects of different sizes were being bid on”, and that Nordic distributors were still buying “medium to in some cases really rather specialised titles”, suggesting a diversified but targeted approach.

In Iceland, Bíó Paradís’ Managing Director Ása Baldursdóttir stressed how festival programming shapes acquisition decisions in smaller markets. Many films of interest, she said, are “primarily suitable for the festival circuit”, limiting theatrical options. She also highlighted the practical importance of Nordic dubbing grants: Without such support, children’s titles often become financially unviable in Iceland’s small market.

This link between funding and distribution was a recurring theme: Nordic distributors increasingly rely on regional support schemes, festival launches and targeted audience strategies to secure viable release paths.

Measured dealmaking amid uncertainty

Across the board, Nordic companies described dealmaking as cautious, but steady. Baldursdóttir characterised the mood as “cautious, but active”, noting that buyers are “carefully evaluating risk and long-term value rather than moving aggressively”.

NonStop’s Abrahamsson similarly felt that investment levels were broadly comparable to recent years, though Cannes has become increasingly decisive in shaping awards-driven titles. Stavik, by contrast, found the level of business “underwhelming”, and hoped for better results in future markets.

Sales agents echoed this mixed outlook. LevelK CEO Tine Klint said optimism about business coexisted with concern about global conditions. She noted that Nordic films maintain a strong reputation, even if many deals are now concluded outside the market window. Klint also warned of broader threats to independent distribution, saying she was concerned about “the dissolution of geographical boundaries and how that will jeopardise proper distribution and funding…when TV channels and streamers are not supporting their local distributors and independents”.

A market shaped by geopolitics

Geopolitical tensions were another factor influencing strategy. Abrahamsson pointed out that acquiring Zvyagintsev’s Russia-set film raised new questions about audience positioning in the Nordics and Baltics. Baldursdóttir said uncertainty in global markets tends to make partners more risk-aware, affecting financing and acquisitions.

Even distributors less directly affected acknowledged the wider climate. Foss remarked that “of course” large-scale geopolitical issues make everyone nervous, professionally and privately.

If EFM 2026 confirmed anything for Nordic companies, it was that distribution is evolving toward precision: smaller slates, clearer audience targeting and stronger reliance on festival positioning and public support.

Despite concerns, the Nordic region remains highly visible internationally, with upcoming titles already aiming for Cannes, Venice and Toronto launches. Yet the message from distributors was clear: Success now depends less on market buzz and more on careful planning, strategic partnerships, and realistic release pathways.

As Foss put it, business continues “as usual” - but only for those willing to adapt to a market where buying films is no longer just about acquisition, but about building sustainable distribution ecosystems.