The Entertainment System Is On: Göteborg gets ready for 2026

The 49th edition of the Göteborg Film Festival is ready to kick off. January 23-February 1 are the dates of the 2026 event, covering works from 76 world-wide territories, honourable guests, exclusive presentations, animated panel debates, and lively industry activity. As is tradition and specialty, Nordic cinema is given a prominent platform, including a strong dozen of world premieres, playing both in the grand Nordic Competition and the illustrious Nordic Light sessions. Some highlights are The Last Resort (Paradis), Norwegian Maria Sødahl’s anticipated follow-up of the celebrated Hope (Håp, 2019), Finland’s Alli Haapasalo’s Tell Everyone (Kerro kaikille), Denmark’s Malthe Wermuth Saxer’s Love Untamed, and Norway’s Butterfly by Itonje Søimer Guttormsen. As usual, notable focus is on Swedish cinema, undergoing notable hardships these days, as festival director Pia Lundberg is all too aware.

“It’s been a low ebb for a while, but do I see rays of light over the 2026 output, and also some great potential from looking at the short films submitted. We’re happy with our Swedish selection, not least the Nordic competition entries, The Quiet Beekeeper (Biodlaren) by Magnus Carlsson and The Patron (Mecenaten) by Julia Thelin, both exquisite little films supported through the Film Institute’s Moving Sweden emerging talent initiative. Then there’s John Skoog’s Redoubt (Värn), of course, which we like a lot. We feel they’re just perfect for the festival. We usually sell out screenings like these, like hotcakes even.”

Recent box office statistics regarding market shares from Swedish films is dire reading. Coupled with a general financial crisis within the Swedish film industry and a film law in general need of reform, the theme of this year’s Film Policy Summit accordingly deals with “Gathering Strength for Swedish Film”, as this ninth edition of the event is named. Politicians, civil servants, and industry representatives will gather over a six-hour session, taking place January 23, and discuss relevant strategies, make comparisons between Sweden and the Nordic countries, and also possibly learn from France, “whose film sector is often highlighted as a role model, with strong support for film as an art form”, as the programme presentation reads.

The agenda will also most fittingly include discussions around the 2025 Film Policy review, appointed by Minister of Culture Parisa Liljestrand and presented March last year. The expert group included, among others, Pia Lundberg.

“The commission has been surprisingly well received by the industry, and also inspired a lot of hope, I’d say, among most if not all of the various players. But since then, it’s been conspicuously quiet for quite a while. Our clear and full aim with this particular summit is that we’re once again going to talk about Swedish film and Swedish film politics, big time. We’ve just entered an election year here in Sweden and shortly, the different parties will present various aspects of what we hope is solid politics when it comes to the cultural sphere. We hope that this festival will provide a spark to this.”

While the festival ‘s audience selection is now unveiled, the market strands are still in preparation, with the Nordic Film Market (NFM) line-up being revealed this Friday and the TV Drama Vision following next week. Head of Industry and Nordic Film Market Josef Kullengård reports that the market will relocate to Draken as central hub, accompanied by an expanded programme. Already announced is a special presentation of the upcoming feature The Entertainment System Is Down by director Ruben Östlund, a session that will be open to both public and industry professionals. Two Swedish works-in-progress presentations have also “crossed over” to the audience programme; Jens Sjögren’s bestseller adaptation Bloody Men (Jävla karlar), and Alex Schulman’s Once in the Archipelago (Arkipelag), starring Fares Fares, Gustaf Skarsgård and Linus Wahlgren. While apart from the regular NFM activity, Kullengård heartily approves of this “migration”.

“The festival has explored works-in-progress within the public festival programme before, particularly when an anticipated Nordic title offers a special opportunity to engage our audience early on. It creates a unique moment for filmmakers and actors to engage with viewers at an early stage, and for audiences to be part of the film’s journey from the very beginning.”

The TV Drama Vision programme will be revaled on January 16, eagerly at that, head of operations Cia Edström is happy to divulge.

“This year’s theme is ’One Transformation After Another’, and the programme reflects a reality moving faster than fiction where the need for sharper, more resilient strategies to survive and prosper is greater than ever. Around 50 series in various stages of development and post-production will be presented, and around 100 speakers will be on stage.”

The opulent 2026 Göteborg programme also includes a special “Truth” focus, scrutinising a concept heavily under pressure; honorary award recipients Agnieszka Holland and Noomi Rapace, both presented with retrospectives; the Ingmar Bergman Competition, overseen by a jury headed by distinguished American writer-producer James Schamus; a world premiere of the WWII drama and Netflix production The Swedish Connection (Den svenska länken); the acclaimed Swedish shorts competition “Startsladden”; and a sparkling string of pearls from the finest and boldest of world cinema visionaries, including Hlynur Pálmason, Kaouther Ben Hania, Jim Jarmusch and Chloé Zhao. To name a few.

As for Pia Lundberg, she’s increasingly warming to her task.

“Last year, my first, there were new surprises, not always pleasant ones, every day. This year I at least know the drill, which is a great relief. It’s really a delight. And it’s just proven, again and again, how strong and exciting the cinema of the Nordic region is and remains. The films just keep coming.”