WRITTEN BY: Annika Pham
The report ‘Nordic Cinema Admissions 2014-2018’ was commissioned to evaluate Nordic films’ ability to cross borders, and the impact of the Fund’s support.
The report ‘Nordic Cinema Admissions 2014-2018’ was commissioned to evaluate Nordic films’ ability to cross borders, and the impact of the Fund’s support.
Through the data collected and analysed by Petri Peltonen, statistics and research specialist at the Finnish Film Foundation, the study offers a snapshot of the results of Nordic films on a national and Nordic level, the types of films that cross borders, those supported by the Fund and the correlation between the Fund’s support and trans-national distribution.
A special emphasis is given to documentaries and children and youth films, as those are priorities for the Fund.
Nordisk Film & TV Fond CEO Petri Kemppinen has also outlined the Fund’s distribution support and objectives, and identified some distribution trends.
Here under are some of the key findings:
Four questions to Petri Kemppinen, CEO at Nordisk Film & TV Fond
What were the findings that surprised you most and those that confirmed your assumptions?
PK: The very positive surprise was the increased number of what we call the mid-size films and their cross-border performance. The fact that animated films travel rather well was confirmed by the numbers. It was not a big surprise to see that crime and Nordic noir films travel less than before, probably because the small screen has clearly taken over.
More films sold between 20,000-100,000 across the region, whereas local blockbusters seem to have had less success in finding audiences outside their home country. What are your views on this particular point?
PK: Big pan-Nordic distributors Nordisk Film and SF Studios have clearly become much more hesitant in releasing their local blockbusters in cinemas outside the domestic market. The smaller local distributors release the mid-size films more actively, and there are cases where they have had a better hunch of the market potential of a film than the big players.
What are the main conclusions that you can draw from this report?
PK: We have been flagging the need for bigger films to cross borders for several years, but actually some of the big titles have remained only local successes. If this is satisfying enough for the producers and distributors it is a disappointment from our perspective. At the same time the mid-size films attract non-national audiences, so there still seems to be an appetite to watch diverse quality films in cinemas, which can be flagged, from cultural and development of the medium perspective, even if means smaller business.
Going forward, what will be the next steps for the Fund?
PK: We've been through two rounds of Nordic Distribution Boost and the first films that went through those workshops (A White White Day, Disco, Valhalla, My Life as a Comedian, Beware of Children) are premiering this autumn. It is a good checkpoint for the Fund to see how to develop the upcoming Boost in 2020.
NB: Correction: The text of this article has been corrected on 26/9 at 11:34. There was wrong domestic market share (25.5%) for Swedish Films in 2014-2018. The figure is corrected in the downloadable report.