Unity and diversity define Nordic animation at Haugesund

This year’s New Nordic Films, running 19–22 August within the Haugesund Film Festival, put the spotlight on animation, with a strong emphasis on feature production. The Nordic Animation Showcase, held on 20 August, was organised in partnership with Nordic Animation - a strategic alliance of leading producers from Denmark, Finland, Iceland, Norway, and Sweden.

The event offered an industry overview of the current state of Nordic animation alongside presentations from six innovative studios. By highlighting a diverse line-up of projects and gathering key regional players, the initiative underscored why the Nordic region remains a trusted hub for high-quality animated co-productions. The showcase featured contributions from Timo Suomi (Anima, Finland), Claus Toksvig Kjær (Nørlum, Denmark), Petter Lindblad (Snowcloud, Sweden), Haukur Sigurjónsson (GunHil, Iceland), Kristine Knudsen (Den siste skilling AS, Norway), and Tonje Skar Reiersen (Mikrofilm AS, Norway).

“It’s booming”: Tonje Skar Reiersen on Nordic animation

Chair of the board of the Nordic Animation Association and host of the Haugesund showcase, Reiersen explained why this year’s focus was on features: “The animation industry varies greatly across the Nordic countries. Finland and Denmark are stronger in series, while features are the most important format in Norway and Sweden. Iceland is also in production with a sequel to the hit Ploey (Lói). Since New Nordic Films traditionally focuses on features, when they reached out to give more room to animation, it was the logical choice for both parties.”

Reiersen described the current state of the sector in one word: “booming.” She underlined the exciting mix of established producers and emerging talents developing their first projects across features, shorts, and series. Covid, she noted, had an unexpected impact: “We could stay in production during lockdown. This led to a lot of live-action producers expanding into animation, fuelling growth. That being said, we are also feeling the consequences of streamers not commissioning and the increasing pressure on soft funding. So there’s a lot of talent, promise and exciting projects, but it’s harder and harder to get them financed.”

On the establishment of the Nordic Animation Association, she reflected: “We have existed as a loose network since 2018, and it’s only now in 2025 that we have established a firm structure. Everything is quite new, but we already feel the benefit. Even if the industry and challenges vary between the countries, we have the same interests and are stronger together.”

She thanked Nordisk Film & TV Fond for the support to establish the association’s firm structure and for the co-operation around the upcoming summit in Copenhagen in September co-hosted by DR on Nordic animated series. The aim is to get producers, broadcasters, and film institutes to “work in alignment”. With animation, she stressed, “producing across borders is fairly easy, and our productions travel well. Everyone will benefit from more co-productions between Nordic producers. Such an initiative would be hard to get going only on a national level.”

As for the Haugesund line-up, Reiersen highlighted both unity and diversity: “There are films for kids, families and young adults in different styles and techniques. What they have in common is quality and a will to develop new and relevant stories, instead of leaning on old IPs. I’m very happy with the selection, which really bears testimony to the talent we have in the region.”

On financing and distribution, she reiterated the centrality of co-productions: “Animation is perfect for co-production! Dividing the work between different studios and companies is fairly easy. The Nordic countries are quite small and with limited access to talent in each, so working across borders makes all the sense in the world and comes easier for us than for live-action.”

International appeal, she argued, lies in a shared tradition: “The Nordics have an extremely strong tradition for children’s stories. Think H.C. Andersen, Ole Lund Kirkegaard, Astrid Lindgren, Tove Jansson… Bold and emotional stories that entertain while still daring to reflect the darker sides of human existence. We also share a sort of social democratic ethics in common. Compared to French and Anglo-Saxon children’s films, which often have a strong focus on the exceptional individual, we tend to tell collective stories.”

Looking ahead, she sees broadcaster investment as a crucial turning point: “If we succeed with our hope to get all the broadcasters in the Nordic region to follow DR’s lead and invest heavily in animation, that would be a game changer for everyone.”

A closer look at some of the projects

Among the participants, several producers unveiled details of their latest works.

From Norway, Kristine Knudsen of Den siste skilling AS presented Cocobanana and the Dinosaurhunt. Penned by Rolf Magne Golten Andersen and Bobbie Peers, and directed by Will Ashurst and Kjersti Steinsbø, the film follows Cocobanana—a young inventor, half coconut and half banana—who accidentally triggers a dinosaur craze in the village of Nutbay. Currently finalising financing, the project is set to enter production in spring 2026, with delivery scheduled for autumn 2027. Co-produced with German outfits Knudsen Pictures and Seru Animation, the pic is backed by multiple European funds and Nordisk Filmdistribution.

Knudsen commented that she was very happy about the decision to put Nordic Animation in the spotlight: “Animation is booming, and the collaboration in the Nordics is meaningful and inspiring. Our films are diverse in techniques, successful in the international market, and reach audiences at home and abroad.”

From Iceland, Haukur Sigurjónsson of GunHil presented Ploey 2: The Legend of the Winds (Lóa - Goðsögn vindanna), a sequel to the 2018 family hit Ploey: You Never Fly Alone (Lói -Þú flýgur aldrei einn). Co-produced with Vivi Film in Belgium and slated for release in 2027, the film draws on Icelandic folklore about the plover bird as the bringer of spring. Its logline: “When the world is threatened with an endless winter, a young idealistic plover gathers a company of unlikely feathered heroes to foil the plans of the evil Ice Queen and her fearsome army by signalling the arrival of spring to fulfil an ancient legend.”

Sigurjónsson emphasised the importance of gatherings like Haugesund: “It gives us the opportunity to meet other Nordic animation producers and keep up to date on what is happening in the Nordics.”

From Sweden, Petter Lindblad of Snowcloud spoke about Millie and the Secret of the Crocodile, which won the Eurimages Co-Production Development Award at Cinekid’s Junior Co-Production Market in 2024. With financing now being finalised for a December production start, the film is based on production design by Patrik Lindberg. Lindblad also revealed that Snowcloud is developing The Old Hotel, a short horror animation written by Maria Avramova and himself, though visuals are not yet available.

Reiersen, representing Norway’s Mikrofilm, is producing Pesta, a reimagined origin story of the plague witch from Scandinavian folklore. Set during the Black Death, it tells of a forbidden love between a Christian teenager and her heathen lover, awakening a dark force. Helmed by Hanne Berkaak, scripted by Sofia Lersol Lund and co-produced with Xilam Films (France) and Knudsen Pictures (Germany), the romantic horror feature is in financing, with greenlight expected in early 2026 and delivery in 2028.

Together, these projects illustrate the vitality, diversity, and international ambition of Nordic animation today—from playful children’s tales to myth-infused horror stories—underlining why Haugesund has become a key stage for the region’s future animated voices.