‘Unapologetic, Bold, Visionary Shit’: Nordic genre combines entertainment with something deeper

Many of them still manage to make their mark, however – not to mention scare the bejesus out of the viewers. The Ugly Stepsister (Den stygge stesøsteren) by Emilie Blichfeldt – a twist on the Cinderella story – proved to be one of the year’s biggest genre successes so far, securing multiple prestigious festival premieres, starting with Berlinale.

“I think The Ugly Stepsister is an interesting example, because it draws on a well-known fairy tale, but shows it from a completely new, fresh perspective,” says Mariusz Włodarski, producer for Lava Films. The film is a collab between Norway, Poland, Sweden, and Denmark.

“The key is precisely this ‘refreshment’. The creators not only play with convention, but also introduce elements of horror that give the story intensity and a completely different genre weight,” he argues. Also underlining the theme that “resonates strongly with society” and focuses on “accepting one’s own appearance, coping with the judgement of others, and trying to find one’s place. It’s this combination that makes viewers react so enthusiastically. It combines entertainment with something deeper and very topical.”

The same could be said for Mattias J. Skoglund’s The Home (Hemmet, Sweden, Iceland, Estonia), set in a care facility for seniors with dementia, and smuggling in universal takes on aging, loss, and family connections alongside the scares.

"For me, The Home stands out because it dares to combine a very grounded, human story with truly unsettling horror. Many reviews have noted how it feels both deeply emotional and genuinely terrifying, and I think that balance is rare," observes Siri Hjorton Wagner, who produced it for Sweden's [sic] film.

"In a Swedish context, it also feels distinctive. We’ve had extraordinary horror literature from authors like John Ajvide Lindqvist and Mats Strandberg, but on screen much of the recent output has leaned more towards a traditional American horror tradition. The Home is closer in spirit to other Scandinavian genre successes like The Innocents (De uskyldige) or Lamb (Dýrið) - films that bring both artistic ambition and emotional depth to the genre."

Finally, last year’s Above the Knee (Over kneet), Norwegian chiller directed by Viljar Bøe, took on body integrity identity disorder (BIID): A condition which leads people to believe their limb doesn’t belong to their body.

It's not all about darkness, though. Pekka Ollula’s upcoming Pigtown (Sikatila) – one of the winners at the industry event Finnish Film Affair in Helsinki – is described as a “rural romantic zombie horror comedy”. It sees an animal rights activist poisoning pig feed – predictably, the results are horrific.

“It’s an honest and modest no-bullshit package that brings together the most unique and fascinating aspects of Finland: beautiful nature and rural culture, local quirks with a kept promise of fun times in the countryside with zombies, romance, blood, horror and comedy. In a time when everyday life and politics feel overwhelming, Pigtown gives you a breather,” Ollula assures.

“It’s not trying to be something it’s not. It’s just a damn good time, and I think people feel that.”

According to Ollula, Nordic genre filmmakers are looking beyond established mythology and familiar characters.

“For me, it seems we are finally getting rid of the compulsory urge to do stories only about epic Vikings and confusing ancient folklore that no one is aware of or really relates to,” he argues.

“What excites me these days is the rise of more personal, hyper-local stories that audiences can actually connect with and enjoy. Genre is the purest form of cinema, and it has always driven the whole industry forward. Right now, I’d love to see the Nordic genre take the wheel and drive us out of misery,” he added, referencing recent cultural cuts in Finland.

Despite multiple local gamechangers – from Timo Vuorensola with Iron Sky to Tommy Wirkola with Dead Snow (Død snø), and box-office sensation Jalmari Helander (Sisu’s sequel Sisu: Road to Revenge is fresh off showings at Fantastic Fest and is now heading to genre mecca Sitges), people “rarely dare to go wild”, says Ollula.

“That’s why it’s been so refreshing to see both new and established filmmakers creating unapologetic, bold, visionary shit on their own terms. At the same time, it’s heartbreaking how many brilliant projects remain underwater, since the funding system only serves a narrow slice of cinema and continues to look down on genre films. Even though, from a cultural export perspective, those are exactly the ones it should be supporting.”

AJ Annila, now at work on poetic horror The Wolf’s Bride (Sudenmorsian), referencing the work of novelist Aino Kallas and handled by Finland’s Good Hand Productions, states:

“The bleak Nordic noir took over the Nordic genre in the way that everything became a bit boring. When I see copies of the copies of the copies, I’m craving for something original. Luckily, original takes on Nordic mythology and the rhythm of our heartbeat have survived.”

Nordic filmmakers should be “more daring for sure” – they should also beware of replicating American films. But Annila notices a rise in local genre productions compared to when he was working on Jade Warrior (Jadesoturi) or Sauna.

“Even though financing is difficult now, I see there’s way more acceptance for genre films than 20 years ago. I love that. Keep the weird ones alive, as there lies the next new thing we haven’t seen before.”

Ida Storm, Senior PR & Marketing Manager at Denmark-based REInvent Studios, echoes Annila’s desire for boundary-pushing films.

“I always like it when genre films dare a bit more. It’s a tricky question, though, and depends on which side of the table you’re sitting at. In my experience, genre festivals are open to daring and new ways of creating genre films. At the same time, from a sales point of view, sometimes horror can get too bloody, and it can limit opportunities for exploitation of the rights.”

No wonder “doubt and insecurity” can enter genre filmmakers’ minds. But they keep going.

“I don’t think the challenge lies with the filmmakers - there are plenty of directors and writers with bold, ambitious projects. The real question is whether financiers are willing to be just as daring. That said, I do see an audience for these kinds of films and there are supporters ready to back them. As filmmakers, we need to remind ourselves that we can and should keep pushing, take bigger swings, and dare even more,” says Siri Hjorton Wagner.

“Take horror, for example: it puts every emotion at its extreme, constantly turned up to the highest level. You can go big, paint with broad strokes, and really lean in. That kind of intensity isn’t something the Swedish arthouse or drama tradition has typically embraced in recent years, and I think that’s exactly why many directors are drawn to it now.”

Ollula adds: “For genre filmmakers like myself, there’s only one plan: Do the work, make that film and never stop until it’s done.”