Nordic drama series and docs unveiled at Rome’s MIA

The 10th edition of Rome’s MIA Market was brought to a close by the awards ceremony held at Cinema Barberini on 18 October. The Italian gathering, headed by Gaia Tridente, kicked off last Monday and saw a 10% increase in attendance compared to 2023 figures, welcoming over 2,800 participants from 60 different countries.

In 2024, MIA received over 600 projects for its Co-Production Market and Pitching Forum, marking a 20% increase compared to last year, with a 12.5% rise in the number of countries of origin represented, which soared from 80 to 90.

This year’s Nordic presence included three docs and four shows, alongside several speakers and industry representatives attending the showcases, the pitching sessions and the panel discussions.

Environmental issues and displacement take centre stage in non-fiction

The MIA Doc Pitching Forum hosted the presentation of Tanja In Wol Sørensen’s Homesick (Slægt), a Danish-South Korean co-production led by Rikke Tambo Andersen of Tambo Film ApS. The feature is described by the team as “a poetic documentary exploring a Danish family’s dysfunction and the transnational adoption industry through an adoptee's eyes”, which “challenges the Western saviour myth and delves into the emotional journey of reconnecting with erased Korean heritage”.

Involved partners include the Danish Film Institute, TV 2 Denmark, and the Seoul Film Commission. “We are in the process of looking for broadcasters, distributors, possible co-production partners in Europe, as well as sales agents,” Tambo Andersen told NFTVF.

“I was one of over a quarter-million children adopted from Korea since the 1950s. Growing up in a small white and Christian community in Denmark, I question the narrative that transnational adoption is a win-win, as most adoptees, like me, are not orphans,” reveals In Wol Sørensen.

“I explore the long-term consequences of being inserted into another family and having your original story erased. What if that family fails you? This film delves into the political, ethical, and cultural context of being an adoptee and my upbringing on the Danish west coast.”

The doc, budgeted at €597,879 (with €435,439 already in place), will use interviews, archival materials, family photos, landscapes, staged scenes, and voice-over, promising to be “a family portrait, a love letter to the director’s Korean mother, and a critique of the adoption industry”.

The second project introduced in the MIA Doc Pitching Forum was Steffen Krones’ Black Carbon – Native Science, a co-production between Denmark, Germany, Norway, and Canada, backed by Mitteldeutsche Medienförderung (MDM), and spearheaded by ravir film GbR and Fathom Film. Budgeted at €355,000, the film follows an Inuit scientist discovering microplastics in Greenland’s glaciers and embarking on a journey uncovering the devastating environmental and cultural impacts of car tires, crude oil extraction, and the petrochemical industry on Indigenous communities, leading to a powerful call for justice. “I’m irresistibly drawn to the North - a place of breathtaking beauty and vastness, yet perilous and delicate. This region endures three to four times the impacts of climate change compared to any other part of the planet. Amid today’s crises, we yearn for solutions and guidance,” says Krones.

“The Arctic’s Indigenous communities may hold the key to a profound understanding of the natural world. Historically oppressed and now on the frontline of climate disaster, these communities possess holistic knowledge about Arctic ice, nature, wildlife, and communal living.”

The third doc, presented during the Doc Hosted session on 16 October, is the Swedish feature The Other Gaza, helmed by Swedish-based Palestinian filmmaker Wafa Jamil and produced by Sard Films AB. The doc aims to show “how daily life in Gaza really is, with sorrow and joy existing side by side, for the audience to understand, as well as Jamil’s daughter Leia”. It also promises to be “a deeply personal film, exploring how occupation is affecting the filmmaker’s relationship with her family”.

“I’m driven by a profound desire to shed light on the untold stories of Gaza, stories that often get overshadowed by headlines of conflict and despair. Growing up in Gaza, I witnessed firsthand the struggles and hardships faced by my family every day,” states Jamil. “Yet, amidst the rubble and chaos, there’s a resilient spirit, a determination to find joy and meaning in adversity.”

The project, budgeted at €187,000 (with €35,000 already in place), is seeking grants, co-production partners, pre-sales, and distributors.

Buzzy Nordic series on offer

The first in line is Henki (6x45), commissioned by NRK, budgeted at €7 million, and presented in the GreenLit showcase. The plot follows the true story of Henki Hauge Karlsen, a gay bartender who is fired after disclosing his HIV illness to his employer. The story, set in 1980s Oslo, sees the man cruelly labelled as “the face of the gay plague”, and fighting for his job and dignity. The producers are Klynge AS and Scanbox Productions.

“The story of Henki is both grandiose and quaint. It takes on significant themes such as human dignity, the treatment of minorities, and how our society responded when faced with a deadly pandemic,” reads the project’s pitch deck.

Speaking of the show’s main aesthetic choices, director Erika Calmeyer reveals: “I want to shoot Henki on 35mm film, as it is undoubtedly the most beautiful, textured format, and perfectly suited for the time period. I will primarily use a handheld camera, but also complement this approach with controlled shots using a tripod or dolly when the scene demands it.”

“I want to actively use archive material in the series. By incorporating authentic material, we can highlight that the story is based on true events, while also emphasising its fictional foundation. This will provide a raw and unpredictable viewing experience,” she continues.

When asked about the score, she replies: “I see the music taking centre stage when present, but used selectively, so that it shines in key moments without overwhelming the scenes with a constant score. Naturally, 80s hits will be a major part of the soundtrack - Bronski Beat, Frankie Goes to Hollywood, and The Human League are just a few examples. However, I also want to incorporate modern music. This can bring us closer to the characters by featuring carefully selected modern-day tracks.”

The second show presented in the GreenLit session was Icelandic Síminn’s Reykjavik Fusion, recently boarded by ARTE and top-financed by Nordisk Film & TV Fond. The series is produced by ACT4, a new firm launched by Ólafur Darri Ólafsson, Hörður Rúnarsson, Jónas Margeir Ingólfsson, and Birkir Blær Ingólfsson.

The 6x52 series tells the story of a talented chef who attempts to clear his name and win back his family after wrongful imprisonment. As society turns its back on the ex-convict, his last resort is to accept dirty money to set up a fine-dining restaurant and run a money-laundering operation to pay it back - not only putting his parole in jeopardy, but also his own life and those of his loved ones. Wild Sheep Content is in charge of distribution.

Next, the “EBU Proud to Present Fiction” event showcased two more Nordic shows. Both N12 series (co-financed by all Nordic pubcasters)and top-financed by Nordisk Film & TV Fond: So Long, Marianne. produced by Redpoint Productions for NRK (co-produced with Canada’s Crave) and SVT’s Pressure Point (Smärtpunkten) staged by Art & Bob Film & Drama.

So Long, Marianne premiered on 22 September. Helmed by Øystein Karlsen and Bronwen Hughes, it is a dramatisation of the 1960s romance between Leonard Cohen and Marianne Ihlen, the Norwegian woman who inspired Cohen’s song of the same name.

Pressure Point was released on SVT Play in April. Sanna Lenken’s three-part show was penned by Pelle Rådström and based on Elisabeth Åsbrink’s book. Set in 1998, it revolves around playwright Lars Norén, who collaborates with prison inmates on a theatre project aimed at rehabilitation. However, lax security leads to chaos, resulting in a renowned performance, a public controversy, and a tragic double murder.

“And the winners are…”

The top prizes saw the triumph of projects from Italy, the Netherlands, Spain, and a co-production between Belgium, Poland, and France.

On this occasion, the MIA Development Award for Outstanding Animation Project went to Big Bang Parade(Belgium/Poland/France), helmed by seven different directors. The film, characterised by a unique graphic style, follows two children who open a chest containing a bag of marbles - each marble holding a tiny world inhabited by colourful creatures. Yle exec Vicky Schroderus was one of the jury members handing out the prize.

Next, the MIA Development Award for Outstanding Doc Project went to Reborn - Perfect Love (Italy) by Giovanni Conte and Francesco Pascucci. The documentary explores the phenomenon of hyper-realistic reborn dolls and the emotional bonds three women form with them.

The MIA Development Award for Outstanding Drama Project was bestowed upon The Night Watch (Netherlands), produced by Edvard van't Wout for Continent Studios. This magical tale, set in Amsterdam, features friendship and buried mysteries. Marianne Furevold-Boland, of NRK, was among the Drama jury members.

Finally, the MIA Development Award for Outstanding Film Project went to Death in Your Eyes (Spain), directed by Guillermo de Oliveira. The jury praised the film’s “subtle noir narrative and psychological depth”.

Here is the full list of this year’s award winners:

MIA Development Award for Outstanding Animation Project
Big Bang Parade – Hermien Verstraeten, Sine Özbilge, Nienke Deutz, Karolien Raeymaekers, Imge Özbilge, Britt Raes, Martyna Koleniec (Belgium/Poland/France)

MIA Development Award for Outstanding Doc Project
Reborn - Perfect Love – Giovanni Conte, Francesco Pascucci (Italy)

MIA Development Award for Outstanding Drama Project
The Night Watch – Steven Friedman (Netherlands)

MIA Development Award for Outstanding Film Project
Death in Your Eyes – Guillermo de Oliveira (Spain)

Paramount New Stories Award
Aya in the Desert – Julia Horrillo (Spain)

GEDI Visual Award
Pulling My Own Strings (La Vita Che Mi Diedi) – Alessandra Cataleta (Italy)

Screen International Award
Father – Tereza Nvotová (Slovakia/Czech Republic/Poland)

WIFTMI Award
Uglycomics (Fumettibrutti) – Josephine Yole Signorelli, Teresa Ciabatti, Laura Luchetti, Michele Pellegrini (Italy)

Carlo Bixio Award for Best Series Concept
Chukar - Giovanni Mauriello (Italy)

Carlo Bixio Award for Best Screenplay (ex aequo)
Double Penalty (Doppio Fallo) - Annalisa De Filippis, Eleonora Ghezzi (Italy)
The Cloud (La Nube) - Gianluca Tria, Lorenzo Garofalo (Italy)