Nordic Film Institute Honchos Talk Cannes Agenda and Best Memories (EXCLUSIVE)

Politics and film have never been so tightly entangled, as the industry feels the heat from geopolitics, threats to democracy and shifting financial models shaped by globalization and digitization. In such a tense context, even the Nordics are being challenged, although their national market share and contribution to the art of filmmaking are among the highest in Europe, as reflected in the Nordics’ hat trick in Cannes this year.

Sweden and Norway are vying for a Palme d’or with Tarik Saleh’s “The Eagles Have Landed” and Joachim Trier’s “Sentimental Value,” Iceland brings Hlynur Pálmason’s “The Love that Remains” to Cannes Premiere and Finland Lauri-Matti Parppei’s debut “A Light That Never Goes Out” to the ACID sidebar. A nod to the Nordics’ key contribution to the past and future of film, “Being Bo Wideberg” by Jon Asp and Mattias Nohrborg bows at Cannes Classics, while Denmark’s Mikkel Bjørn Kehlert (“Maybe in March”) and Finland’s Helmi Donner (“The Lightning Rod”) made the cut at Cinef.

In snap interviews with Variety, the CEOs of the five Nordic film institutes share their best Cannes moments and priorities. In the purest Nordic tradition, they are also joining forces to promote Framing Democracy: the Power of Film at a panel to be held May 17 at the Cannes Marché du Film.

Danish Film Institute CEO Tine Fischer

On the positive side, we have an ambitious Minister of Culture [Jakob Engel-Schmidt], a growth in public film funding, and a new generation of filmmakers, writers and producers bursting onto the scene in the most talented way. On the more challenging side, as in many other European countries, production budgets are rising, theatrical audience numbers have not fully returned to pre-COVID levels and the most significant drop is among kids and youth. Content on personal screens is growing massively, challenging theatrical as well as public service broadcasting. It’s a wicked problem as there is no single or simple solution. It requires a strong, innovative commitment and, most importantly, policy regulation and collaboration across sectors and national borders. It will be one of our main priorities to engage in this major societal challenge, and we will do this in strong partnerships across all relevant sectors.”

What are your priorities in Cannes?

My top priority at Cannes will be to reinforce strong European collaboration. We need to mobilize and strengthen the cultural infrastructure in Europe – it’s as essential as energy supply and defense policy. We need to come together in new ways to protect the values and democratic principles that define Europe, as well as the overall principle of freedom of speech and the arm’s length principle. On a very concrete level, it means meeting with European colleagues, film funds, broadcasters, producers, filmmakers to build new, efficient action plans.

What are your best Cannes moments?

Maybe the most memorable year [1998] is my first year in Cannes, the year Dogme took over the Croisette. Lars von Trier and Thomas Vinterberg in competition with two landmark films in European film history, “The Idiots” and “The Celebration.” I have never been so culturally proud and energized, and I absolutely think we need that sense of urgency hitting us again. Soon!

Finnish Film Foundation CEO Lasse Saarinen

Before joining the Finnish Film Foundation, he worked as an independent producer for three decades.

How is the state of your local film industry, and what are the biggest challenges ahead?

The state of our industry is somewhat schizophrenic. Finnish films do excellently in the cinemas. Our market share for the first four months this year is 38 %, and there is also quite a good international interest. For instance, “Niko: Beyond the Northern Lights” has about three million tickets sold around the world. At the same time, finding funding in Finland is more difficult than ever. After several years of budget cuts [€ 3 million over 2020-2025], our current budget is now a bit over € 22 million ($24.5 million), and funding luckily seems to remain intact next year. If we adjust monies against inflation, our support budget is still €9 million ($10 million) smaller than in 2014.

What are your priorities in Cannes?

As CEO of the Finnish Film Foundation, I have the pleasure to sit in endless meetings and conferences throughout my stay. That said, I truly hope that I’ll be able to see the Finnish minority co-production “The Eagle of the Republic” which is in the main competition.

What are your best Cannes moments?

In this position, those nights when Finnish films have been awarded, like Aki Kaurismäki’s “Fallen Leaves”(Jury Prize 2023) and Juho Kuosmanen’s “Compartment No 6” (Grand Prix 2021).

Icelandic Film Centre CEO Gísli Snær Erlingsson

Erlingsson took up his current job in 2023. Earlier positions included director of the London Film School.

How is the state of your local film industry, and what are the biggest challenges ahead?

The Icelandic film industry continues to adapt to the lasting impact of streaming, and admissions have been slow to recover after COVID. A major challenge remains how many local films and TV series we can realistically produce, based on funding and how much local cinemas, broadcasters, and audiences can absorb. We need an open, honest discussion about sustainable production levels rather than focusing solely on funding. Potential U.S. tariffs could also have serious ramifications for the Icelandic film industry.

What are your priorities in Cannes?

Our main focus in Cannes is to present “The Love That Remains” by Hlynur Pálmason in the official program, yet another achievement in Icelandic cinema. We are also proud to join our colleagues from the Nordic film institutes in hosting a panel on democracy and film, addressing how cinema can defend democratic values across borders. The event brings together voices from politics, culture, and civil society to discuss the role of film in fostering dialogue and democratic resilience.

What are your best Cannes moments?

One of the most memorable moments at Cannes was the world premiere of “Rams” by Grímur Hákonarson in 2015. The film went on to win the Un Certain Regard prize and earned widespread international acclaim. It’s an incredibly moving story and a powerful reminder of how a deeply local narrative can resonate universally.

Norwegian Film Institute CEO Kjersti Mo

A former journalist and senior employee at Egmont Publishing, Mo was appointed NFI CEO in 2019. She also serves as vice president of the European Film Agencies Directors Association (EFAD)

How is the state of your local film industry, and what are the biggest challenges ahead? 

We’re in a strong period for Norwegian cinema, with internationally recognized voices across fiction, documentary and drama. The Norwegian Film Institute is focused on sustaining this momentum by refining our funding system to stay relevant, efficient and forward-looking.

While the industry is rich in talent, financing has become more challenging due to rising costs and market shifts. Cinema attendance is under pressure, but local films still hold a 25% market share, showing a solid appetite for national stories. Ensuring both artistic and financial sustainability is a key priority.

What are your priorities in Cannes?

The world premiere of Joachim Trier’s “Sentimental Value” on May 21 is a proud milestone for Norwegian and European cinema. We’re also hosting two key panels: one on cinema’s role in democracy [May 17], the other on gender equality and diversity [May 19]. These values are deeply linked and vital to a free and vibrant industry. As Vice President of EFAD, I’ll also chair our General Assembly and mark EFAD’s 10th anniversary, a moment to reaffirm the value of European cooperation in uncertain times. 

What are your best Cannes moments? 

My first Cannes as CEO of the Norwegian Film Institute in 2021 (as the 2020 edition was cancelled due to COVID) remains unforgettable. After lockdowns, returning to celebrate cinema with “The Worst Person in the World,” “The Innocents,” and Renate Reinsve’s best actress win was deeply moving. The atmosphere was electric, and while it’s hard to define a single breakthrough moment, it certainly felt like a turning point for Norway’s presence on the international film stage.

Swedish Film Institute CEO Anna Croneman

Croneman was appointed CEO of the SFI in 2024, after serving for seven years as head of drama for the Swedish pubcaster SVT.

How is the state of your local film industry, and what are the biggest challenges ahead?

It’s currently not very good, as funding for films significantly declined during peak TV drama. Producers and directors are now striving to find ways to revitalise the film industry. Sweden’s new government film inquiry is currently in the consultation phase. If the proposals become policy, the situation will look much brighter as exciting projects are lining up in development.

What are your priorities in Cannes?

Doing a ton of meetings, talking to other people who lay awake at night trying to figure out where we are heading with cinema. My priority is listening to as many clever people as possible, and celebrating that we have a fantastic Swedish film competing for the Palme d’Or, “The Eagles Have Landed,” and the documentary “Being Bo Wideberg” about my favourite Swedish filmmaker Bo Widerberg in the Cannes Classic section.

What are your best Cannes moments?

Best is classified. But the second best was definitely in 2022 when we had both Tarik Saleh [“Boy from Heaven”] and Ruben Östlund [Palme d’or winner with “Triangle of Sadness”] in the main competition, and both gala screenings had that magic atmosphere. I also remember when I saw Andrea Arnold’s debut, “Red Road,” and discovered a filmmaker for whom I have the utmost respect artistically.