New Nordic Films - See Special Report August 17

Nordic Talents 2007 - Application Deadline Friday August 10

Ciao Bella - See Trailer

Mani Maserrat-Agah's romantic comedy-drama Ciao Bella is now on release in Sweden through Sandrew Metronome Distribution. Click here to see the trailer.

Next News & Newsletter Update 10 August

Welcome back! Please note our website news and newsletters will now be published on Fridays starting Friday 10 August.

Ingmar Bergman Archive Receives Unesco Recognition

The Unesco International Advisory Committee has included the Ingmar Bergman Archive in the Memory of the World International Register comprising archives and documents considered valuable to humanity.

Two other Swedish archives had previously been included in the prestigious Register: the Astrid Lindgren Archive in the Swedish Royal Library and the Emanuel Swedenborg Archive in the Swedish Royal Academy of Science.

The legendary filmmaker is also being honoured this week in his own retreat, Fårö island where professionals, special guests (including Kenneth Branagh and Bibi Andersson) and film fans are taking part in the 4^th Bergman Week (June 26-July 1) co-organised by the Göteborg Film Festival.

Photo credit: Beata Bergström

Happy Holidays Our Office Is Closed July 1 - 31st

Ole Christian Madsen - Speaks To Us From The Cutting Room Of Flame & Citron

Ole Christian Madsen is one of the key members of the new wave of Danish directors who came out of the Danish Film School in the early 1990s.

He spoke to Annika Pham from an editing room in Copenhagen where he is fine-tuning the making of Flame & Citron, the most expensive Danish film to date (€6.3m). the mega-project is produced by Nimbus Film in co-production with Germany (Wüste Film), with the support from over 20 financiers including Nordisk Film & TV Fond.

Next week (July 1-2, 2007), he will attend the Karlovy Vary International Film Festival to present his latest film Prague selected at the Variety Critics' Choice sidebar.

How would you describe Flame & Citron and how did you get involved in the project?
Ole Christian Madsen: It's a very big film, the biggest budget Danish film ever. It's set during Danish occupation under WWII. It's about an inner-circle of activists that were killing Germans and Danish informers. Their fight became more and more radical, almost like terrorism. So it's quite a controversial subject matter.

The project is actually quite old. I stumbled on it almost seven years ago while I was working on DR's TV series, The Spider. After that, with scriptwriter Lars K. Andersen, we did a big research on it all over Europe, trying to find new information. But no financiers were interested in the story at that time. So I did other films in between, and so did the scriptwriter. Then a couple of years ago, I started working on the script again, digging into the research material and going directly to the essence of the story, building a strong structure, something people could not say ‘no' to... I went back to the scriptwriter and said let's do it! 

You're saying the film is about radicalism and you mention the word ‘terrorism', a very delicate but highly topical subject matter...
It's a very different subject matter connected to radical Islamism, to religious fights. I'm not saying that what they (the real protagonists Flame and Citron on which the story is based) were doing was terrorism, but that the mechanism they were using in their war were the same as the mechanism we now have in Iraq or Afghanistan. What makes people go further and further into a fight, become crueller? It's a very controversial subject matter and for Danish people, it will probably be difficult to deal with. But it's good for a nation to face the darker sides of its history.

Was it important for you to have two big stars (Mads Mikkelsen and Thure Lindhardt) carrying the story?
The project is actually quite old, so when I asked them if they wanted to play in it five years ago, they were not big stars yet. Thure became a well-known actor in Denmark with my previous film Angels in Fast Motion made in 2005.

Did you feel pressured about the fact that Flame & Citron is such a big budget movie?
Even if it's a big budget in Denmark, it is not a big budget for other countries. We had the same problems as on smaller budgeted films. We had to cut down all the way through the production. The pressure came from the fact that we had a lot of press and representation during the shooting as so many different partners from various countries are involved in the project. I had to make speeches all the time!

I'm now trying to prepare another film set during the occupation that hasn't been told, something very controversial again. It will be about the liberation of Denmark.

You're going to Karlovy Vary next week to present Prague at the Variety Critics' Choice section. The film which was a big success in Denmark last year (over 206,000 admissions) is based on a story - marital break up - that you had already explored in the 2001 Dogma film Kira's Reason-A Love Story. What made you go back to that theme six years and two films later, with the same lead actress?
I've always wanted to make films about relationships that are close to my own life. Both films are based on a personal experience with marital and love life. They are much related, and at the same time very different. I used the actress Stine Stengade again in Prague because she can show all the sides of a woman: dark, bright, or wild.

As a general rule, I try to make a bigger movie, then a smaller one. That rhythm gives me a feeling of freedom. With bigger budget films, it's very tough, very heavy to do the production, the editing, plus it costs a lot of money. Whereas with a smaller movie, you have perhaps only ten meetings and you can go on shooting.

The second reason why I directed Prague, is that I think you should make films from where you are in your life. When I do a drama, I want the characters to be exactly my age...When I'll turn 80, the characters will be 80!!!

Both Kira's Reason and Prague were co-written respectively with Morgens Rukov and Kim Fupz Aakeson, Is that something you enjoy doing, sharing the writing with an established scriptwriter?
In the beginning of the writing process, I like to discuss the characters with someone, the various angles of the film, and the structure of the drama. After a certain time, I like to continue the writing on my own. But Morgens Rukov was never really writing with me and was credited as development coordinator. With Kim Fupz Aakeson, it was different. We started out writing in Prague. We stayed 10 days in a hotel, writing the basis for the script. The imaginary power of one person is too small. You need the imaginary power from others as well to get the best out of an idea.

This notion of sharing ideas is something you learnt at the Danish Film School...
Yes indeed, and this notion is something that was instilled by Morgens Rukov and the Danish Film School.

This is something that is not very common for instance in France...
The way of dealing with art house films is very different in France. When I speak to French directors, I can see that they are sometimes stuck by their own pretensions. They don't get a high rhythm of production in their life because they spend a lot of time closed in one project. But then, the level of production there is very high anyway.

Do you also share ideas with producers?
Not so much. I think the role of the producer is over-rated. The producer's role is to get the money for the project. But dealing with the drama, the structure of the film is not the producer's task. For some it is important, for me not so much. I think if you work alone, then the producer is important. Not so much if you know what you want to do. However I bounce ideas with my editor, and with the actors. We improvise a lot, discuss if a scene is about this, or that, what is the true expression of it?

You've shot two movies back to back in Prague. How was your experience on a cultural and artistic standpoint?
Czech crews are perhaps among the best in the world. Their craftsmanship - set building for instance - is at a very high level and they really respect the project they work on. They are concentrated and do their best to accomplish a specific mission or make an idea come true.

My experience on Prague made me do parts of Flame & Citron there as well. Because of the financing, we had to shoot some of the scenes of Flame & Citron in Germany and in Denmark, but if I had had the choice, I would probably have done most of the filming in Prague.

Unfortunately the film might not be released in the Czech Republic because distributors are afraid Czech people might be offended by the film. It is a bit like Lost in Translation that was never released in Japan...

I could have predicted it, although the film is not at all about the Czech Republic or Czech people. It is about marital problems, and everything that is happening around the couple is a reflection of their inner life. I could perfectly have shot the film anywhere else in the world.

After Flame & Citron, will you do another smaller movie?
Yes, I will do a third relationship movie with Stine Stengade. So it will be a bit of a ‘relationship trilogy'. It will be about a couple, two individuals who have nothing in common at all, and the only thing that connects them is love.

Will it be another Nimbus Production?
Probably, yes.

Who are the filmmakers that you feel close to and that you admire?
I feel close to the American new wave, John Cassavetes, the French New Wave. I spend a lot of time watching the Godard and Truffaut films; I like Buñuel as well, naturalism, realism in cinema.

Any interest in shooting in the US?
Yes, I'd like that sometime. These days I'm more into smaller films, but I am in contact with an agent and I am quite curious to see how it would be to work over there.

END

Film Kontact Nord Seeks New Director

The Director
Applicants for the position of director of FkN should be experienced in film production and/or marketing and distribution. The applicant should have a broad network of contacts within the film and television communities in the Nordic countries, and preferably beyond.

Organisational, administrative, fund-raising and social skills are essential for this position, as well as the ability to lead and take part in the work of a team. The applicant must be fluent both in speech and writing in at least one Scandinavian language in addition to English.

Filmkontakt Nord is continually ready to take on new challenges, and to be at the forefront of Nordic short & documentary marketing and promotion. The successful applicant will be able to combine experience with innovation.

The position of director is for a five-year period at the end of which the contract may be extended. Salary and terms of contract are subject to Danish law.

Applications
The position is to commence December 1, 2007.

Applications should be sent no later than 17 August to John Webster, chairman, c/o Filmkontakt Nord, Vognmagergade 10, 1^st Floor, DK-1120 Copenhagen K.
Interviews with shortlisted candidates will take place September 14.

FkN’s work is led by the director together with a staff of three. The director is answerable to a board appointed by the Nordic independent professional organisations.

Applications should contain a CV and an informal description of the strengths and abilities that the applicant will be bringing to the work of FkN. References by film/TV professionals are appreciated.

For further information please refer to the website www.filmkontakt.com.

For further information about the work of the director, please contact John Webster at +358-500-615345; email: websters@dlc.fi or the present director of FkN, Karolina Lidin at +45 3311 5152; email: karolina@filmkontakt.com.

About Filmkontakt Nord
Filmkontakt Nord (FkN) was established in 1991 by the independent Nordic film community for the advancement and promotion of Nordic short & documentary films. FkN offers a range of services and events designed to stimulate and facilitate Nordic and international production and distribution collaboration.

Key activities are the annual Nordisk Panorama 5 Cities film festival, Nordisk Panorama Market and Nordisk Forum for the financing of documentaries, as well as promotional and consultancy activities at international festivals and markets.

Filmkontakt Nord’s office, located in central Copenhagen, boasts an extensive video library available to festivals, buyers and other professionals and is also working to provide new and exciting on-line services.

Krister Einarsson Heads Interim Board Of Directors For New Norwegian Film Body

The Chairman of the Norwegian Film Fund, Krister Einarsson who chaired last year's film committee responsible for putting forward recommendations on which Norwegian Culture Minister Trond Giske built his White Paper on Film Policy, is going to steer the new Film Institute's Interim Board of Directors towards its final stages of ‘pre-production'.

Other members of the Board include Solvor Amdal from Midtnorsk Film Center, Producer Synnøve Hørsdal (Maipo Film), writer Elrik Ildahl (Head Above Water), producer Aage Aaberge (Nordisk Film) and external observer and novelist Elin Ørjasæter.

One of the key roles of the interim board of directors will be to hunt for the future Film Institute's CEO.

Gone With The Woman Opens Haugesund

Petter Næss's new film Gone With the Woman (Tatt av kvinnen) produced by Monster Film with support from Nordisk Film & TV Fond has been chosen as the opening film for the 35^th Norwegian International Film Festival in Haugesund on August 18.

The film based on Erlend Loe's debut novel has ‘The Bothersome Man', Trond Fausa Aurvåg in the lead as well as Marian Saastad Ortesen and Peter Stormare.

The film will open in Norway on September 7, 2007 through SF Norge.

Free Jimmy - Wins Best Film At Annecy

Christopher Nielsen's CGI animated film for adults Free Jimmy won the top awar the Cristal for Best Film at the International Animated Film Festival in Annecy which ended on Saturday June 16. The Norwegian/UK co-production beat other high profile films such as Azur & Azmar and Flushed Away.  The film was produced by Lars Hellebust for Storm Studio in Norway.

Forestillinger: Best Actress Award For Richter In Monte-Carlo

Sonja Richter was handed the Gold Nymph Award for ‘Best Actress in a Mini-Series' during the closing ceremony of the 47^th Monte-Carlo Festival held on June 14, 2007.

Per Fly's TV drama Forestillinger, supported by Nordisk Film & TV Fond was produced by Zentropa in co-production with DR TV. The mini-series was aired on DR1 last March and April.

Box Office News - Weekend June 15 - 17, 2007

Top Nordic Films In Nordic Countries
Last weekend's biggest Nordic release was Ole Bornedal's family thriller The Substitute, distributed by SF Film/Filmcompagniet in Denmark with 61 prints. The film opened strongly with 34,333 admissions for the first three days, easily taking the second place at the local box office after Pirates of the Caribbean, At World's End. (See news story). The film produced by Thura Film was supported by Nordisk Film & TV Fond.

Three other Danish films offering different genres for different audiences also made it into the local Top 10. At number 5, Dansk Tegnefilm's animated film Cykelnyggen og Dansemyggen by Jannik Hastrup and Flemming Quist Møller lost only one rank from its opening weekend, with 20,278 tickets sold for Nordisk Film. Hans Fabian Wullenweber's chiller Cecilie produced by Nimbus Film and distributed by Filmfolket lost a bit of ground for a 7^th place and 41,381 admissions in three weeks. As for Peter Schønau Fog's The Art of Crying (Kunsten at græde i kor), its theatrical performance has been described by Sune L. Thomsen from SF Film as "an excellent surprise" with over 208,000 admissions in eight weeks.

In Norway, at only a few days away from the holiday period, three ‘older' local children's film have come back to the Top 10 last weekend. At number 5 is The Junior Olsen Gang-The Secret of the Silvermine (Olsenbanden Jr og sølv-grunvens hemmelighet) by Arne Lindtner Næss. The film franchise has added almost 4,000 admissions to its already satisfactory results, totalling 282,292 admissions in 20 weeks for Nordisk. At number 8, Espen Fyksen's animated film Elias & the Royal Yacht (Elias og kongeskipet) distributed by SF Film, has reached 223,479 admissions in 17 weeks. Just under at number 9 is Svein and the Rat and the UFO Mystery (Svein og Rotta og UFO mysteriet) by Vikeke Ringen with a total of 124,624 admissions for Nordisk Film Distribution.

There were no Nordic films in the top 10 in Sweden, Finland and Iceland this past weekend.

Sons Conquers Seattle

Erik Richter's debut feature Sons supported by Nordisk Film & TV Fond, has added another major prize to its already long list of international film awards: the New Director Award Grand Jury Prize from the Seattle International Film Festival which ended last Sunday.

"Sons completely meets its own objectives and manages to successfully navigate a morally difficult subject matter" said the jury headed by Toronto programmer Cameron Bailey.  "It is a remarkable debut, combining consummate storytelling ability with a fully realized cinema aesthetic".

Heartbreak Hotel's Female Duo Wins In Festroia Portugal

Helena Bergström and Maria Lundqvist's top performances in Colin Nutley's Heartbreak Hotel  were rewarded with a top Female Acting Prize at the last Festroia International Film Festival held in Setubal, Portugal (June 1-10). Last year's biggest Swedish hit (465,000 admissions) is soon going to open in Germany (July 5) with 120 prints. Other countries to follow include Brazil, ex-Yugoslavia and South Korea. Films sales were by SF International.

The Swedish star Rolf Lassgård was awarded Best Actor for his role in Susanne Bier's Danish film After The Wedding, which also won Special Jury Prize.

A third Nordic film, The Art of Crying by Danish filmmaker Peter Schonau Fog won a Special Mention or CICAE Award from the Arthouse Cinemas International Federation.

The three films were supported by Nordisk Film & TV Fond.