Nuuk International Film Festival sparks momentum for Indigenous voices

Since its founding in 2017, the Nuuk International Film Festival (NIFF) has become a vital platform for Greenlandic and Indigenous cinema. What began as a small section of another cultural festival has now grown into a stand-alone event showcasing films, fostering industry dialogue, and strengthening ties with Inuit and Nordic neighbours. Ahead of the 2025 edition (17-20 September), NIFF executive director Emile Hertling Péronard shares the festival’s mission, highlights, industry programme, and hopes for Greenland’s emerging film sector.

Emile Hertling Péronard, what is NIFF’s mission? How has it evolved since its inception?

Nuuk International Film Festival was established in 2017 by Pipaluk K. Jørgensen and Karsten Heilmann, initially as part of another cultural event. From 2018, it became an independent festival with its own dates.

We were filmmakers travelling to international festivals, trying to put Greenland on the map, and wanted to build something at home. NIFF became a platform for young Greenlandic filmmakers to present their work and meet audiences. Strengthening ties with fellow Inuit in Canada also became central, as their films rarely reached Greenland. Over time, NIFF developed into a meeting place for the entire film industry, where ideas, collaborations and ambitions could take root – crucial in such a small filmmaking community.

We also host a public pitch session for Greenlandic filmmakers.

Greenlandic cinema is at a crossroads, with the Greenlandic Film Institute launching next year. Ahead of NIFF, we’ll hold a two-day seminar with FILM.GL and NAPA to assess the industry’s future. Participants include Nordisk Film & TV Fond, the European Film Academy, Creative Europe, the International Sámi Film Institute, the Faroese Film Institute, and the Arctic Indigenous Film Fund.

Are any parallel events planned?

Yes, we’re again collaborating with Denmark’s Institut français on a film workshop, joined by FILM.GL and Filmiliortarfik. French tutors Marie-Pierre Thomas and Olivier Daunizeau, plus Sweden’s Helene Granqvist and Denmark’s Valeria Richter, will guide participants in story development and pitching. Selected projects will be presented at NIFF’s public pitch event on 19 September.

Who makes up the team working on the festival?

The festival is run by Polarama Greenland. Executive directors are myself and Pipaluk K. Jørgensen, with Aka Niviânaas festival manager, Sandra Lennert-Sandgreen as guest manager and coordinator, and Ilannguaq Petrussen as technical manager. Others join for social media, moderation and practical tasks. Our venue partner Katuaq plays a central role in festival operations.

Who are your main partners and sponsors? Are you seeking new ones?

Our main funders include Kommuneqarfik Sermersooq, the Greenlandic Arts Foundation, NAPA - the Nordic Institute in Greenland, and national lottery funds. External partners include Nordisk Culture Fund, the Nordisk Film & TV Fond, and the EU Commission. Corporate sponsors include Air Greenland and the Bank of Greenland. We’re always seeking new partners, especially with our 10th anniversary coming up next year.

What awards and accolades are at stake?

Our jury grants prizes for Best Feature Film, Best Feature Documentary and Best Short. This year’s jurors are Birgir Thor Møller (North Atlantic House, Copenhagen), Nina Møller (Government of Greenland), and filmmaker Ilasiaq Heinrich.

Additionally, FILM.GL hands out the annual Innersuaq Award. This year’s nominees are Nina Paninnguaq Skydsbjerg (WALLS – Akinni Inuk), Otto Rosing (Orsugiak – The White Gold of Greenland), and Hanne M. Sørensen, honoured for her work with young filmmakers. The award will be announced at Katuaq on 20 September.

The film institute will be launched next year to support local filmmakers and give their voices a platform. How would you assess the current status of Greeland’s film scene, especially in the context of the Nordics and other Indigenous populations?

Greenland has incredible potential for filmmaking – consider our thousands of years of storytelling traditions, the deep connection between mythology and nature, and the many trials our people have faced in the wake of colonialism. We have outstanding storytelling talents across all art forms, who have managed to express themselves despite systemic barriers, and a lack of education, infrastructure and funding.

Because of the high costs of making films, our filmmakers have been particularly affected by structural barriers, such as the fact that Greenlandic production companies cannot apply for funding in Denmark. Here, we have had to “compete” with other art forms for very limited resources, and it has often been difficult to argue that filmmakers need significantly higher budgets to realise their work.

We hope the new Greenlandic Film Institute will change this, allowing for a more dedicated effort to develop the national film industry. Bear in mind that every single improvement in Greenland’s film infrastructure over the past 15 years has been the result of volunteer work by filmmakers who, at the same time, struggled to make their own films and earn a sustainable income. With the Institute, at least there will be someone working full time for our interests, and being paid to do so. That alone is a game-changer for Greenlandic filmmaking.

There are so many stories to tell, and so many talented filmmakers ready to tell them. I am hopeful for the future, but success will require hard work from all of us, as well as political recognition that we can help build our nation through the stories we share.