Time for the Nordic film industry to meet in Gothenburg – here’s what to expect

550 delegates are due at Nordic Film Market in Gothenburg (Jan 29-31) and more than 750 attendees at the sister event TV Drama Vision, where the watchwords this year are “Collaborate, Create, Captivate”.

Danish auteur Lone Scherfig will be participating in the Discovery Co-Production Platform for films in development with her latest feature Honeytrap, being produced by Stockholm-based Art & Bob (the film is presented out of competition). Discovery has 15 titles in all, encompassing established names like Scherfig and newcomers.

Delegates won’t just be discovering new projects. They will also have access to market insights through such events as a key note on market changes and challenges from Guy Bisson, Executive Director at Ampere Analysis, and the new regular Nostradamus drama keynote from analyst Johanna Koljonen.

Below, Cia Edström, Head of TV Drama Vision, and Josef Kullengård, Head of Industry, talk about just why the market now means so much to the Nordic Film and TV industry.

“We aim to be a platform where you can discover hidden gems, projects you never knew you were looking for, while also connecting with the work of established creators,” Kullengård states.

“We want to inspire people, but it’s also wonderful if after two days, people know a little bit more about what is going on in the drama industry than before they came,” Edström adds.

What’s new this year?

Kullengård: This year, we’ve introduced a new section called Nordic Gateway. Here, we turn the table: Instead of showcasing Nordic projects to the world, we’re presenting international projects seeking partnerships with the Nordic industry. This carefully curated selection features five standout projects, each aiming to build meaningful connections within the Nordics. For us, collaboration drives innovation. At the same time, we remain dedicated to highlighting Nordic creators and projects as the core of our selection. By maintaining a boutique, a highly curated market, we ensure that every project we feature is chosen with care.

We’re also launching a new side branch of the Nostradamus Project, which we’ve been running for 12 years. This new platform, called Nostradamus Collective, marks the next step in our commitment to foresight and collaboration.

Another highlight is Meet the New Nordic Voices, a showcase of nine projects from Nordic film schools. This initiative is part of a larger pan-Nordic collaboration led by the National Film School of Denmark, the Norwegian Film School in Lillehammer, and Stockholm University of the Arts.

Edström: New this year is that we are relaunching the script award together with Nordisk Film & TV Fond. From now on, it will be an annual award presented by the Fund under the name Nordic Series Script Award. We are also introducing the honourable mention Creative Courage Award that recognises the producer and commissioner of a series that pushes creative boundaries and embraces innovation. For the first time, we will welcome a French delegation of selected producers, and there will be a notable French presence in our sessions. Our guest of honour is the amazing French writer and showrunner Fanny Herrero. This represents a wonderful opportunity for the French industry to connect with all five Nordic countries.

Is there any evidence that Nordic films are travelling across each other’s borders?

Kullengård: Some titles definitely do. This year, we are showcasing Norwegian director Maria Sødahl’s new film. Her previous film, Hope (Håp), performed exceptionally well in cinemas across the Nordics.

When it comes to cross-border collaboration, both on-screen and behind the scenes, our industries are deeply interconnected. Looking at the films being screened, the pan-Nordic influences are evident in every aspect of the production, from the storytelling to the talent involved.

What is the situation in the Nordic TV market?

Edström: After the peak TV period, it has been quite tough, but there are also positive signs of collaborations between public broadcasters and streamers, and there is more co-producing taking place. We are going to look into that and other key drivers to move the industry forward. 2024 was a rough year, still there are small signs of a recovery, just a bit slower and later than anticipated a year ago.

How do you see the impact of AI? Does it cost jobs, or is it providing opportunities?

Edström: We are really happy to have Angus Finney to do his keynote, and he will present an arc of how this influences the whole industry. We are also doing this Steve Against the Machine session, where Steve Matthews, Content Executive at Banijay, competes with AI. Everyone is using AI in one way or another. It’s more about defining the ethics around it. AI won’t write you a script. It is used more as a feedback machine at the moment. Of course, AI is impacting the whole industry in various ways. It is taking jobs. You have to be very careful in the way you use it and why you use it. There are so many questions around AI. This is something we want to put a light on this year, and probably next year too.

Are there trends you’ve spotted in the selections in terms of themes, moves toward genres, budgets etc?

Edström: We had an open call for series in development, and we got a lot of applications. The trend is the same, that there is big variation. The classic crime series are still being made, there is a big audience for that, but there are more genres and styles now.

Kullengård: One trend in the programme is the number of newcomers teaming up with senior producers. Bloodsuckers is a great example - it’s an elevated horror film from first-time director Elin Grönblom, produced by Patrik Andersson, who also produced Midsommar. Beyond that, we’re really trying to showcase the variety of films being made.There’s everything from broader drama films like Lisa Langseth’s The Dance Club to Ester Martin Bergsmark’s A Sweetness From Nowhere (En ljuvlighet från ingenstans), which leans more experimental. We also have wonderful love stories, such as My First Love (Min første kjærlighet) by Mari Storstein, produced by Thomas Robsahm and Tøri Gjendal. And No Rest for the Wicked, directed by Kasper Kalle, is a historical horror film set in the Faroe Islands. It’s hard to pinpoint general trends, because the programme is so diverse, but that’s exactly what makes it exciting.

Any new money?

Kullengård: In terms of financing, we are establishing two brand new awards this year. There is a development investment award with a cash prize of €15,000 to one of the projects in the Discovery line-up that is presented by Film Finances Scandinavia for a project with a good balance between artistic excellence and international potential. For The Nordic Gateway section, we are presenting a post-production award from the Göteborg-based post-production studio Tint, that’s worth €35,000.

How do you define success?

Kullengård: We measure it in many ways. A marketplace serves many functions. Of course, it’s about the human connections you make and the discussions that spark at the festival. It’s also about introducing projects to decision-makers and executives, acting as a gateway or accelerator. Equally important is the quality of the programme, the insights we provide to our target groups, and the role we play in helping to navigate the rapidly shifting industry landscape.