Nordic shows aim to go global, combining local storytelling with clear concepts and universally recognisable themes

French festival Series Mania and its industry strand Series Mania Forum had a healthy selection of Nordic titles this year, with Amanda Jansson awarded for her turn in My Brother (Jag for ner till bror). But local series creators want to reach even more countries, and they don’t leave anything to chance.

“When it’s well made, and the story and the characters have the potential to resonate with a wider international audience, the series speaks for itself. But you need to see the potential and take it into consideration throughout the production,” says Vilja Savonlahti, producer at Yellow Film & TV behind the Finnish series Atlantis Pasila.

Presented in the Short Form Competition, it takes place in the Helsinki neighbourhood Itä-Pasila – and in a bar called Atlantis.

“For Atlantis Pasila we didn’t do any international branding per se, but we discussed it with creator-writer Anna Brotkin and director Ulla Heikkilä already during the script development. We made choices with the international distribution in mind,” explains Savonlahti.

“For example, all the music had to be chosen so that it would be possible to clear the rights for global distribution, even though the budget was limited. The series sounds absolutely wonderful.”

Music is also a big part of Bandstand (Folkparken), a six-part drama produced by Ivy Prodco for TV4, set in Sweden in the summer of 1957, when rock music crashes into a sleepy town.

“The young embrace it with open arms, the old see it as a threat. That conflict is timeless and universal,” says Eleonor Sager, who produces with Pontus Edgren. It’s created by Ulf Kvensler.

Collaborating with international partners early in the process allows the team to learn from their audience insights and shape projects with international resonance.

“Another example is how we work with the music concept. By reinterpreting contemporary songs through a 1950s musical lens, we create an additional layer of recognition. Imagine Zara Larsson’s ”Lush Life” or Robyn’s ”Dancing on My Own” with a 1950s sound, and some of the artists doing cameos in a 50s look!”

Unique settings and universal emotions are key, as well as highlighting why the project is relevant and relatable.

“Audiences today are curious about authentic worlds that are locally specific. Having said that, not all projects are suited for export. Some are better off being very local.”

Not Bandstand, though.

“We have positioned the show as both a distinctly Nordic story and a universal one. While the setting is very specific, the themes of first love, class, ambition and music as a form of liberation are very international,” says Sager.

Hiring recognisable names also helps, from actors to an experienced director like Daniel Espinosa, who directed Morbius. Now Espinosa is attached to Nordic Drama Queens’ production When Nobody’s Listening (När ingen lyssnar).

“There’s often an international aspect or point of view in our series, but it must come from unique opportunities within the story. We love to offer audiences something familiar on the surface, while challenging them with new themes,” says co-founder and producer Sandra Harms.

When making Cry Wolf (Vargasommar), they cast Eliot Sumner. Kim Cattrall played an American president on a state visit to Sweden in Modus. Both decisions made the shows “much more international, without losing their Northern authenticity”.

When Nobody’s Listening tells a real story about a team of police officers who gain access to an encrypted communication tool used by criminals.

“Adding local elements – like the escalating gang violence in Stockholm or the unique landscape of northern Sweden – can be exotic and interesting for a global audience if the story resonates emotionally.”

Historical dramas also offer escapism – at least that’s the hope of the team behind six-part Royal Blood (Blått Blod), focusing on a rift between Scandinavian royal houses from 1807 to 1814.

“It’s such an exciting project in terms of story, relevance today and production set-up. It’s also the first project backed by the Scandi Alliance; TV 2 Norway, TV4 Sweden and TV 2 Denmark. We really hope to attract major European partners,” admits producer Kristin Ulseth (Miso Film).

“Royal Blood is about how power really works, how alliances are built and broken, and how the fate of entire nations can hinge on very human choices. The story feels incredibly current, making it both a gripping drama and an unsettling mirror of our own times.”

Erik Richter Strand, who created the show with Nanna Westh, Monica Boracco and Katarina Launing, had already worked on The Crown, making the team confident that the new series “will have scale and intimacy in a cinematic and deeply relatable way”.

With Burden of Justice (Hundarna), about the Swedish legal system, shown at Series Mania in the Panorama Competition, the team was “very deliberate” about positioning the show internationally.

“It’s rooted in a strong Nordic context, but built around universal themes of justice and morality, while combining the Nordic noir and legal drama genre. It’s created by author Jens Lapidus, and formed with a clear tone and visual identity to make it legible and attractive in an international market,” notes producer Nicklas Wikström Nicastro.

“Recognisable IP, proven creatives or strong track records can make a big difference in a crowded market. At the same time, the story needs to feel specific and genuine, because that’s ultimately what gives our Nordic content its international appeal.”

The Nordic noir brand is still what positions most local productions internationally, says Rubicon’s Ivar Køhn, but Nordic drama has become “more and more like a hallmark for originality and quality”.

In Lille to present Still Breathing (LIS), about young doctors and their encounters with patients and colleagues, he calls it a hospital series that’s “relatable to audiences in any country with a public health system”.

“Nordic series are known for their willingness to engage with current – and sometimes controversial – social issues, all wrapped up in compelling storytelling. On the Norwegian side, both TV channels and the Norwegian Film Institute organise special screenings and networking events to put our productions in the spotlight.”

According to Jemina Jokisalo, Head of Drama and screenwriter at the Finnish company Just Republic, the team approaches every project with an international audience in mind. That includes Citizens of Heaven (Taivaan kansalaiset), by Venla Aakko and Mika Ronkainen, set within a religious cult.

“We’re drawn to bold, high-concept ideas with a bit of an edge. Each series has its own genre, tone, and visual language, but there’s a shared confidence in the premise that ties them together.”

They also work with distribution companies, making creative choices on branding together. “It’s always important to make sure everyone is making and also selling the same show,” she says, noting that the team sharpens the concepts “until they can be captured in a single sentence”.

“Our series Guts (Kylmä kausi) is a thriller drama set in the women’s national ski team. Our guiding idea from day one was the “Black Swan of skiing”. Money Shot (Toinen Tuleminen), awarded at Canneseries, was described as “a comedy about making feminist porn”.

“When the concept is clear, it will also be easy to explain. And that works on so many levels: from us pitching the initial idea all the way to the audience watching the series and recommending it to their friends.”

Mia Ylönen, Head of Drama at Helsinki-filmi, agrees: “It's important to be able to articulate the show’s distinctive hook in a sentence. Snakes on a Plane will always be the best example of that.”

That being said, the international hook might be different from the domestic one.

“Take our thriller series Icebreaker (Jään vangit), which had its international premiere on AMC+ in Spain. For us Finns, a series set in the world of ice and snow is nothing new, but for the international audience it was the key selling point.”

Now, the company presented Dead Women Talking (Kuollut nainen puhuu), about two ambitious podcasters solving crimes against women.

“To us, it's important to position ourselves as producers of premium Nordic drama - international in terms of scope and quality, and highly local in terms of story and talent,” adds Ylönen.

Jemina Jokisalo notes: “A series needs to have a unique idea within a clear, familiar genre. It’s easier said than done, but a brilliant idea will always catch attention, and a familiar genre can help the series travel, especially during times of uncertainty.”