Navigating Nordic film employment: time for a temperature check!

In this article, the Nordisk Film & TV Fond offers a comparative snapshot of the Nordic film industries, examining workforce trends, regional dynamics, and structural shifts across Denmark, Sweden, Iceland, Finland, and Norway. Drawing on recent data and expert insights, we explored how employment models, funding structures, and global pressures are shaping each national context, paying special attention to freelance labour, local development strategies, and the role of digital transformation.

Denmark: interrupted growth, regional disparities, and new challenges ahead

The Danish film sector, which now comprises 899 companies and nearly 2,900 full-time equivalents (FTEs), has faced significant shifts over the past year. While the sector saw notable growth in recent years, the number of companies dropped by eight in 2023, with a particularly steep decline in TV companies. A production halt in 2022, stemming from disputes over compensation with major streaming services, further impacted the industry. In terms of revenue, the sector saw a 14% decline compared to 2022, with total earnings falling from 5.2 billion DKK to 4.5 billion DKK — a loss of 721 million DKK. Despite these setbacks, film and advertising remain dominant employers, with the majority of activity still concentrated in Eastern Denmark, where over 90% of the sector’s revenue is generated.

However, Rasmus Andersen, Research and Project Manager at the Danish Producers’ Association, pointed out that “2024 has been a difficult year for many production companies, and we have seen layoffs. Employment may even be stagnating or declining”. While the sector continues to grow, regional funding programmes play a crucial role in supporting employment outside the capital, though the overall outlook is uncertain until more data is available in 2026.

Denmark’s film industry has witnessed a 20% rise in the number of FTEs (Full-Time Equivalents) from 2017 to 2022, though this growth has not been evenly distributed. Employment remains heavily concentrated in the capital region, leading to questions about the sustainability of the sector outside Copenhagen. Andersen believes that more effort is needed to support regional employment, praising the initiatives implemented by the likes of FilmFyn and Den Vestdanske Filmpulje.

In terms of workforce shortages, Denmark doesn’t face a specific lack of professionals. However, the competition for skilled labour is intensifying as many of Denmark’s top talents are increasingly drawn to opportunities abroad, where compensation is often more lucrative. Andersen notes that “some of the best Danish competences prefer to work abroad, where the compensation is advantageous”, highlighting the need to address wage disparities.

Meanwhile, the Producers’ Association is also pushing for a film and TV incentive programme to create a more stable, regular workforce.

Looking forward, the digital and interactive sectors, particularly gaming, are growing rapidly. However, Andersen warns that the rise of major tech players like Google, Meta, and Apple represents a serious threat to the local film and TV market. Without stronger regulation from the EU, he fears that “they will eat the whole market in a few years”, potentially undermining the position of local content creators.

Iceland: freelance workforce calling for stability amid rapid growth

Iceland’s film industry has seen significant growth in recent years, with FTEs rising to just over 1,000 in 2023, up from 800 in 2020. Film production turnover reached approximately €180 million in 2023, slightly down from €190 million in 2022, but still well above pre-pandemic levels. However, public funding for the industry, which peaked at €10 million in 2023, is expected to decline to around €7 million in 2025.

Hilmar Sigurðsson, of the Association of Icelandic Film Producers, notes that employment in the sector is largely freelance, with many workers calling for more traditional, full-time contracts. “There have been increased requests for more family-friendly production environments and formal contracts for crew types,” he explains, adding that unions are beginning to form, pushing for change. He anticipates that these shifts will occur “sooner rather than later”.

Despite the rapid expansion of the industry, Iceland faces challenges in training enough local staff to meet demand. While some co-productions have brought in foreign crews, local crews have grown significantly, with the number of fully trained crews rising from two to five in the past decade. However, foreign film and TV productions in Iceland, with their larger budgets, have driven up crew rates, creating additional financial strain for local filmmakers.

Sigurðsson points out that the downscaling of the Icelandic Film Centre, which has supported Icelandic language productions, will have a significant impact on the industry. “Fewer Icelandic films will be made, and the local culture will be the one to lose the most,” he warns, emphasising the need for sustainable financing models as the industry matures.

Sweden: navigating fewer commissions and new workforce tools

Sweden’s film and TV sector is in a transitional phase, with production volumes currently declining after several boom years. Charlotte Gimfalk, Managing Director of Yrkesnämnden för Film och TV (Sweden’s Film and TV Professional Board), explains: “It takes longer time between pitch and green light, and the loss of Viaplay as commissioner of scripted content has had a big impact on the industry.”

Employment remains predominantly freelance-based, either via sole proprietorships or fixed-term contracts. Martin Söderberg of Arbetsförmedlingen (Sweden’s Public Employment Service) notes that while salary levels vary greatly by role, hard data is still lacking. “Our analysis department usually says there are approximately 80,000 professionals in the cultural sector,” he states, “but we don’t know how many work specifically in film.” He also highlights a general over-establishment of cultural workers compared to the number of assignments, though recent years have seen some shortages in key film roles.

To address this, Yrkesnämnden is building a national workforce registry. It will allow professionals to verify their skills in detail and help productions identify qualified crew by region and experience level. “This will guide new talent, support freelancers to up-skill between jobs, and allow companies to report planned productions,” says Gimfalk. Long term, the platform aims to diversify job offers, professionalise recruitment, and strengthen regional capacity.

Despite the downturn, both local and international streaming platforms, along with foreign shoots, continue to have a positive impact on employment, creating opportunities and sustaining demand for skilled professionals across Sweden.

Norway: between shrinking jobs and skills shortages

According to the Norwegian Film Institute’s latest report on employment, published in February, an estimated 3,000 film workers have been active over the past three years. This figure includes professionals working on multiple productions, but excludes subcontractors and those only involved once. The Norwegian Film Workers’ Union (NFF) counts around 1,700 members, of which approximately 1,000 are primarily active in film, the rest in TV entertainment. Given the lower unionisation rate in this freelance-heavy sector — estimated at one in three — the number aligns with broader calculations.

Data from The Movie Database indicates 2,500 professionals have worked on more than one project in film, series, shorts, or documentaries during the same period. Meanwhile, the Brønnøysund business register suggests 4,500 employees in film-related companies, though this figure includes those in TV and one-off participants. Adjusted for sectorial distribution, the 3,000-worker estimate remains consistent.

However, the sector is facing a stark downturn. In 2023, the industry saw a 40% drop in the number of jobs and a 30% decline in active professionals compared to 2022. Moreover, 24% of workers now hold secondary jobs outside the film industry, and 59% have considered leaving the sector altogether. Seasonal fluctuations remain a major concern: 62% report serious financial challenges due to irregular work patterns, while 50% feel work has become more seasonal in the past three years.

Moreover, the report notes an increasing shortage of skilled resources in the typical crafts (carpenters, material handlers, prop makers, designers, etc.), driven by the aging of the workforce and the insufficient intake of new, skilled personnel.

While the long-term need for digital skills and continuous learning is growing, the report shows that the immediate challenge lies in sustaining employment. Support mechanisms must be precise, timely, and targeted — particularly as the sector contends with increased international competition and sharp market shifts.

Finland grapples with job insecurity and a shifting market

Employment figures in Finland’s industry remain unclear, as official data for the past two years are still unavailable. Nevertheless, daily observations and informal reports confirm that professionals have faced increasing employment challenges. “Many production companies have had redundancy negotiations during the past one year and a half,” says Laura Kuulasmaa, Executive Director of Audiovisual Producers Finland. “It’s safe to say that the local and global commissioning volume has decreased, and so employment has been declining.”

During the previous drama boom, the sector suffered from a shortage of experienced production managers, line producers, and heads of departments. Now, amid a broader downturn, the industry is still figuring out what the “new normal” will look like.

The current economic climate makes it difficult to increase permanent hires. Fixed-term, project-based employment — typical in the AV field — continues to affect well-being and job security. However, Kuulasmaa stresses that improving social sustainability isn’t solely about budgets: “Open discussion, good planning, and sharing best practices and processes goes a long way already.”

AI is expected to bring greater efficiency to production and enable cross-sector collaboration —especially with the gaming industry. While Kuulasmaa recognises the opportunities, she is confident it “will not replace creative work and innovation”.

A new review commissioned by Business Finland estimates the turnover of Finland’s creative industries at €14 billion in 2022. It identified over 130,000 small businesses and freelancers, using AI-assisted analysis. The report outlines three core sectors: scalable content (including audiovisual, music, and gaming), creative B2B services, and the event industry, which grew 15% between 2017 and 2022.

The review highlights how scalable content and digital ecosystems are key growth drivers, with internationalisation, collaboration, and platform-based models essential for future competitiveness.

Selected reports:
Danish Content Producers: CLICK HERE. (Only available in Danish)
Competence and Capacity in the Film Industry: CLICK HERE. (Only available in Norwegian)
Situational review of the Finnish creative industries: CLICK HERE. (Only available in Finnish)