Norway finds place in spotlight during ‘golden age’ of film-making | Norway

When it comes to filmmaking, Norves, Scandinavian neighbors Sweden and Denmark, Lars von Trier, Thomas Vinterberg and Ruben Östlund have been watching for a long time after being hit.

However, in the shadows, years later, the country finally found its place in the light of international spotlight with a series of different, relationship -centered and admired film and television shows with many Norwegian “Golden Age”.

Only in the last few months, Dag Johan Haugerud, who won the greatest prize at this year’s Berlin Film Festival, has seen the third Dreams, the third of the Oslo Stories trilogy; Joachim Trier’s Grand Prix in Cannes, and the Oscar nominee is the emotional value of the world’s worst person; Lilja Ingolfsdotir’s cute; And Armand is the first directing feature of Ullmann Tøndel from Half.

Meanwhile, Pernille (known as Pørni in Norway) has found special audiences around the world since the Viplay Comedy Drama series about the life of a single -parent family.

Ullmann Tøndel, who worked on the script for his next film, told Guardian, “We are in the golden age of Norway cinema.” “Especially in terms of recognition of the largest festivals and how Norway feature films are perceived outside Norway.”

Although talented Norwegian filmmakers, including Trier and Haugerud, there is no shortage of Norwegian filmmakers, Ullmann Tøndel said that the films coming out of Norway are often “quite safe”. This was not the case among younger generations who created a collective to encourage and inspire and inspire risks and entertainment. Recently, Emilie Blichfeldt and Thea Hvistendal, with his ugly step -sister and his ugly stepfather among others who will have recently broken with directing attempts.

“What is so wonderful is that we all have a very different visuality. This is a really important thing in Norway cinema,” he said. “For example, in Sweden, everyone tried to make Ruben Östlund films for a while, and in Denmark, everyone tried to make Lars von Trier films for a while. So we are really trying to feed our own singularity.”

If this new wave has a face, then almost absolutely definitely find the seven-minute laughter in Armand, and as he did in 2021, all the joy, bitter, oddity and humor can find the micro-details of romantic relationships throughout the world.

“Very intuitive and intelligent and going very in -depth, but he does it with a light,” Ullmann Tøndel said. “What makes us human has a remarkable understanding.”

Norway’s newly discovered in the film world of Norway was not noticed by his neighbors.

Kristta It is painful to confess because of the eternal competition of our countries, but Norway is in front of Sweden to develop cinematic sounds, ”he said.

While Viita consoles Ullman Tøndel’s grandfather – legendary director Ingmar Bergman’s Swedish, he is not sure that the young Norwegian manager can follow the same path in Sweden, where the film industry is mainly focused on the Swedish listeners.

Henriette Steenstrup, who wrote and played in Pernille, said that he did not expect his series to be an international success as a Norway – especially because of the Norway society. Unlike Nordic Noir’s focus on crimes and detectives, his series focused on daily issues such as family and loss. “There are too many drama in daily life,” he said.

Making a film in Norway is easier than many other countries, but with a consistent government financing and a stable stream of talent from free film schools, filmmakers are opposed to increasing challenges in financing their projects.

“Norway is a great talent center,” hege Hauff Hvattum, one of the producers of the Oslo Stories Trilogy, said. “Money from the Norwegian Film Institute (NFI) was good in the sense that many projects were realized with a mixture of Scandinavian funds, but it was not increased at the same speed with costs, so we start to wonder how it would be in the future.

There was also a problem of pennants trying to make films more attractive for the wider masses that Hauff Hvattum said he could make them generic. “If you want to tell an honest and sensitive story, I believe it is easier if you write from a local perspective to capture the nuances – more interesting,” he said.

NFI CEO, Kjersti Mo, said that Norway’s success is a long-term state investment in filmmaking-approximately 670 million points (£ 50 million) this year and the professionalization of the film industry to work with international partners.

The NFI tries to help independent filmmakers dependent on the theater version and to configure their financing by having their own rights. “We must strengthen our creators and producers in a way that they still have an option, Mo said Mo. “In the ecosystem, the money from the pennants is still important, but we will not allow them to design everything.” He said that NFI’s business is “strengthening the art side”.

Contrary to a general movement towards Dumbing, MO said increasingly, the films selected by the Institute of Artistic Values ​​are popular films among the audience. “This makes me really happy. We create awareness in the population of Norway, so they are proud of the films and they are proud of filmmakers.”

When Norway came to the film, Denmark and Sweden always say that he was his “little brother”. “Mostly happy for us, Mo said Mo. “I think this is a source of inspiration.”

However, Danish Berlingske newspaper film editor Sarah Iben Almbjerg said that it would not last long for Denmark’s “return to international interest”. “Until then, the Norwegians can enjoy their place in the sun.”