US buyers show appetite for Nordic fare in Cannes amid quieter but focused market

The hybrid Cannes Marché du Film 2021 closed July 15 after nine days of slower overall trade but brisk business for sales reps of films in the festival sections.

French anti-Covid protocols such as negative PCR or antigen testing every second day for non-double vaccinated on-site market attendees, were generally viewed as smooth operations, while the relaxed checks of mask-wearing rules during screenings were gradually tightened by the army of festival staff hired during the atypical film event.

For sales agents of Nordic films who came to Cannes, the trip was definitely worth it, as key buyers in particular of arthouse films were out in force from key territories including the US, and everyone felt great relief to finally be able to interact and continue conversations initiated at the pre-Cannes screenings late June.

Jan Naszewski, CEO at New Europe Film Sales, sole Nordic sales agent with an office at the Scandinavian Terrace 55 La Croisette, enjoyed the high visibility of Valdimar Jóhannsson’s film Lamb at Un Certain Regard, nearly sold out after the Cannes’ world premiere, and kick-started pre-sales on the Polish drama Leave No Traces by Jan P. Matuszyński and animated film The Peasants by Dorota Kobiela.

“There was less traffic but overall, we did many deals, and people that were around - and also online - were focused and wanted to do business,” he told nordicfilmandtvnews.com. “Most key European and American theatrical buyers were there,” added Naszewski who expects more streamers to be present in Venice.

“Generally speaking, many distributors have full line-ups for 2021, but they were open to discuss if you have a strong proposal. I think it’s harder for smaller films and discoveries to get attention,” he noted.

Regarding the pros and cons of the pre-Cannes screenings and overall market conditions under Covid-19, Naszewski said: “The pre-Cannes screenings allowed people to prepare for the market, but it also removed the rush that we like so much. Market and festival screenings were also much more empty than usual. If it continues like that, we’ll have to rethink how we spend money, book screenings, etc. It took me a while to get used to the new rhythm of Cannes. On the other hand, I was able to have longer and more quality meetings with the people that were in Cannes. My colleagues also managed to do good business remotely with buyers from Asia and Latin America.”

Susan Wendt, CEO at TrustNordisk came in person in Cannes alongside two colleagues. The leading sales rep of Nordic films, had no title at the festival, but she organised ‘buyers only’ secret screenings of four films still to premiere, in order not to jeopardise on-going selection discussions with major festivals.

“Obviously France was in big numbers, and there was a good representation from Belgium and the Netherlands, quite a few buyers from Germany, several from Eastern Europe, some from the US and a few from the UK,” she stressed. “Generally speaking, buyers attending were much more focused on screenings and less on meetings which of course made sense, since most companies only had 1 or 2 people attending. But they were in buying mode, so it has for sure been worth it to come, and there is still lots of negotiations going on,” she said.

During Cannes TrustNordisk announced new sales on the Swedish biopic I Am Zlatan by Jens Sjögren, acquired by Germany/Austria (Telepool), Switzerland (Ascot Elite), Benelux (September), and Bulgaria (A Plus). The film which screened at the market in Cannes was pre-bought earlier by Italy (Lucky Red), Russia (International Movie Distribution/Capella), the Baltics (Estinfilm), Albania, Slovenia, Croatia, Serbia, Montenegro, Bosnia, Kosovo and Macedonia (Cinemania Groupicon). The film produced by B-Reel will be one of TriArt’s biggest releases of 2021, set for September 10 in Sweden.

Helene Aurø, sales and marketing director at Reinvent International Sales, representing SF Studios feature films worldwide, as well as quality Nordic TV series, attended Cannes in person with two colleagues, and welcomed clients at a MEDIA stand in the Palais. “We met online with buyers who could not travel, but it was fantastic to meet the ones who came physically! she said.

At press time, Aurø was still negotiating deals, notably with the US for the anticipated period biopic Margrete-Queen of the North, and with France and the US for the Finnish action thriller Omerta 6/12 directed by Aku Louhimies. Meanwhile Estin Films acquired Omerta 6/12, Charlotte Sieling’s Margrete-Queen of the North, Bille August’s The Pact among others for the Baltics.

Major deals on Nordic Festival films
Nordic festival films The Worst Person in the World - awarded Best Actress for Renate Reinsve’s performance, Compartment No 6, Grand Prix-ex æquo in the main competition, Lamb, Prize of Originality at Un Certain Regard, the Directors Fortnight entry Clara Sola, the co-productions Bergman’s Island and A Chiara (Europa Cinema Label Award at the Directors’ Fortnight) all created strong buzz in Cannes and secured major distribution deals, listed below:

The Worst Person in the World by Joachim Trier - main competition
MK2 Films sold the Norwegian film to US distributor Neon for North America, to the streaming and theatrical platform MUBI for the UK, Ireland and India. The film produced by Oslo Pictures with France’s MK2, Denmark’s Snowglobe, Sweden’s B-Reel Films, was pre-sold earlier to France (Memento), Benelux (Cineart), Russia (Russian World Vision), Poland (M2 Films), Former Yugoslavia (Mega Com Film) and The Baltics (Kino Pavasaris).
SF Studios will release it in Norway October 15. Triart will handle the Swedish release and Camera Film the Danish release.

Compartment No 6 by Juho Kuosmanen-main competition
Totem Films sold the Finnish film to Sony Pictures Classics for North America, Latin America, Eastern Europe, Southeast Asia and the Middle East.

“Compartment No 6′ is a treasure. One of the great train movies with humour and romance, full of surprises. Just the kind of fresh movie audiences want to embrace right now. One of the best films we’ve seen here in Cannes,” said Sony Pictures Classics in a statement.

The film produced by Aamu Film Company with CTB Films, Russia, Amrion Production, Estonia, Achtung Panda, Germany is set to open in Finland this fall via B-Plan. Folkets Bio will handle the Swedish release.

Bergman’s Island by Mia Hansen-Løve - main competition
Kinology sold the French/Swedish/Belgium/German co-production to IFC Films for North America. An earlier deal in June was closed with MUBI for the UK/Ireland. The film co-produced by Sweden’s Plattform Production will be released in Sweden by TriArt.

Lamb by Valdimar Jóhannsson - Un Certain Regard
New Europe Film Sales added North America (A24) to the 50+ territories that had pre-bought the Icelandic supernatural drama, ahead of the film’s world premiere in Cannes.
Among the previous deals announced are pre-sales to France (The Jokers), Germany (Koch Films), Denmark (Camera Film), Poland (Gutek Film), Benelux (The Searchers), Hungary (Vertigo), Czech Republic (Artcam), Austria (Filmladen), Switzerland (Filmcoopi), Slovakia (ASFK), former Yugoslavia (Five Stars/Demiurg), Estonia (Must Käsi), Latvia (Kino Bize) and Lithuania (Scanorama).

Jóhannsson’s debut feature produced by Iceland’s Go to Sheep, with Sweden’s Black Spark Film & TV and Poland’s Madants, will open domestically August 20 via Sena.

Clara Sola by Nathalie Álvarez Mesén-Directors’ Fortnight
Luxbox sold the Swedish film to Oscilloscope Laboratories for North America and Epicentre for France. The magical realistic drama set in a remote village in Cosa Rica was produced by Sweden’s Hobab Film with Costa Rica’s Pacífica Grey, Belgium’s Need Productions, Germany’s Laidak Films, Resolve Media in the US among others. Folkets Bio will handle the Swedish theatrical release.

A Chiara by Jonas Carpignano - Directors’ Fortnight
MK2 Films sold the Italian/French film co-produced by Denmark’s Snowglobe and Sweden’s Film i Väst to Neon for North America. The third and final instalment in Carpignano’s Calabrian trilogy films received the Europa Cinemas Label award, which will allow distributors part of the European network to create additional promotion and incentives for exhibitors to keep the film on screens.