BERLIN 2016 CO-PRODUCING WITH THE

1 INDEX

THE NORDIC COUNTRIES AND THEIR CO-PRODUCTION PROGRAMS 4 Danish Film Institute Regional Film Funds Finland 8 Finnish Film Foundation Audiovisual Finland and Film Commissions Iceland 10 Icelandic Film Centre The Ministry of Industries and Innovation 12 Norwegian Film Institute Regional Film Funds Film Commissions 17 Swedish Film Institute Regional Film Funds

NORDISK FILM & TV FOND 20

CREATIVE EUROPE DESKS Denmark, Finland, Iceland, Norway and Sweden 24

CONTACTS 27

CREDITS Page 01 LITTLE WING, Selma Vilhunen – Finland, Making Movies Oy © Cata Portin Page 03 LAND OF MINE, Martin Pieter Zandvliet – Denmark, Nordisk Film Production © Christian Geisnæs Page 20 SIV SLEEPS ASTRAY, Catti Edfeldt & Lena Hanno Clyne – Sweden, Snowcloud Films AB © Karolina Pajak Page 24 SPARROWS, Rúnar Rúnarsson – Iceland, Nimbus Film © Sophia Olsson Page 28 THE LAST KING, Nils Gaup – Norway, Nordisk Film © Ian Brodie Editor: Tytti Rantanen Layout: Maikki Rantala

2 THE NORDIC COUNTRIES AND THEIR CO-PRODUCTION PROGRAMS

3 DENMARK

DANISH FILM INSTITUTE

The Danish Film Institute (DFI) • There must be Danish creative or has established an international department technical participation in the production. with the remit of advising Danish ­producers • There must be a distribution deal for on international funding possibilities, while theatrical distribution in Denmark or being the point of contact for ­international broadcast on national Danish TV. producers seeking information on the • The financing in the major co-producing ­Danish production landscape and financing country has to be secured. possibilities. Applications will be evaluated Minority Co-Production Funding based on the following criteria The purpose of funding co-productions is • Creative strength to strengthen partnerships and creative • Creative and financial collaboration exchange between Danish and ­international between the Danish company and its producers. The DFI highly values the ­­co-producer, including previous projects ­opportunities afforded from co-productions and future plans – ­international financing, cultural and • The level of creative and technical ­business exchange and distribution – and ­collaboration, the participation of ­ therefore encourages such partnerships. Danish talent and crew and the overall Danish spend. Successful Co-Produced Films: • The nature of the distribution deal VIRGIN MOUNTAIN signed by the producer by Dagur Kári (Iceland) MOUNTAIN DFI is able to allocate no more than by Yaelle Kayam (Israel) 60% of the Danish spend. LONGWAY NORTH by Rémi Chayé (France) Applications are submitted to Noemi ­Ferrer, LOUDER THAN BOMBS Head of DFI International, and assessed by by Joachim Trier (Norway) a DFI panel consisting of Commissioning THE RAMS ­Editors, the Head of Feature Film, the Head by Grímar Hákonarsson (Iceland) of DFI International and the Director for Film Funding. Subsidy Application Requirements dfi.dk DFI can fund 5–9 minority co-productions per year. The annual budget amounts to Deadlines for application 2016 DKK 12 million. 23 February – noon • The application must be submitted by 24 May – noon a Danish production company. 20 September – noon

4 DENMARK

Minority Co-Production Features supported in 2015

FEATURE FILMS DIRECTOR PRODUCTION DANISH COUNTRY COMPANY CO-PRODUCER OF ORIGIN GODLESS Ralitza Petrova Klas Film Snowglobe Bulgaria HJERTESTARTER Arild Andresen Motlys SF film Production Norway LUIS AND HIS FRIENDS Christoph & Wolfgang Ulysses Filmproduktion A. Film Production Germany FROM OUTER SPACE Lauenstein, Sean McCormack SAMEBLOD Nordisk Film Nordisk Film Sweden Production SE Production DK THE LITTLE VAMPIRE Richard Claus, First Look BV A. Film Production Netherlands Karsten Kiilerich THE UNTAMED Amat Escalante Mantarraya Snowglobe Mexico Producciones TOM OF FINLAND Dome Karukoski Helsinki Filmi Fridthjof Film Finland TONIC IMMOBILITY Nathalie Teirlinck Savage Film 41Shadows Belgium

5 DENMARK

Documentaries Selection Process The Danish Film Institute (DFI) can fund The application form can be found on the international co-productions of documen­ DFI website and must be addressed directly taries, short fiction and transmedia. to one of the three film commissioners. The DFI can fund 4–6 minority co-­ Evaluation of each submission will be made productions per year. by the individual film commissioner; in ­addition the projects will also be discussed Application Requirements by an editorial group consisting of the film • The application must be submitted by commissioners, the head of unit and head a Danish production company of production. The purpose is to ensure that • There must be Danish creative or technical each project receives a creative evaluation participation in the production as well as a sound financial and productional • A confirmed distribution deal must be review. Funding awards are announced submitted for theatrical distribution in ­approximately one month after submission. Denmark, national Danish broadcast and/ or another approved distribution platform Deadlines for application 2016 31 March – noon 11 August – noon 03 November – noon

Minority Co-Production Documentaries supported in 2015

DOCUMENTARIES DIRECTOR PRODUCTION DANISH COUNTRY COMPANY CO-PRODUCER OF ORIGIN ACALI EXPERIMENTET Marcus Lindeen Fasad Bullitt Film Sweden AQUARELA Victor Kossakovsky Aconite Productions Danish Documentary UK Production POST-PUNK DISORDER Jukka Kärkkäinen Mouka Filmi Magic Hour Films Finland SHADOW WORLD Johan Grimonprez Louverture Films Final Cut for Real USA THE ISLAND AND Mike Day Intrepid Cinema Radiator Film UK THE WHALES THE RESCUER Hark Joon Lee Eclipse Film Good Company South Korea Pictures THE ROAD Zhang Zanbo Galaxion Films Plus Pictures China

6 DENMARK

REGIONAL FILM FUNDS

The regional film funds make an important The fund’s primary goals are to invest in contribution to the success of Danish films Danish and international film and ­television and television. productions that are produced in the ­member municipalities and intended for THE WEST DANISH FILM FUND national and international distribution. The West Danish Film Fund is located in The Film Fund primarily Denmark’s second biggest city, Aarhus, and invests in international productions of high annually invests around EUR 1.5 ­million in artistic merit with Danish co-producers, or film and media productions. Beyond fund- Danish projects with substantial interna- ing the organization provides equipment, tional financing and distribution in place. ­professional film studios, film ­workers, The fund’s focus is on productions wholly or industrial parks, training and talent partly shot in the region. ­development, as well as scouting services. cphfilmfund.com The Fund supports and invests in co- productions that have Danish artistic or FILM FYN technical participation with a connection to FilmFyn is located on the island of Funen the region. and manages an annual budget of EUR 1.5 The Fund is working to establish a film million, of which more than EUR 1 million and media commission. This will enhance is invested in feature films and television the West Danish Film Fund’s visibility on the ­series shot on location in the area. international stage and hopefully encourage The fund primarily gives support to more major and minority co-productions. ­feature films, but any film with investment filmpuljen.dk potential will be considered, based on the local spend in the seven ­municipalities COPENHAGEN FILM FUND behind FilmFyn. Danish productions or The Copenhagen Film Fund was founded ­international productions with Danish in 2013 by the initiative of the Producers minority co-producers will typically be Association as a partnership between eight required to spend more than 200% of the Copenhagen municipalities, the Capital investment granted locally. Region and a number of players in the local In 2013 FilmFyn established Film film industry. The Fund has a budget of ­Commission Fyn, in part to be better able EUR 4.7 million as of 2016. to guide international producers to the right locations, people, facilities and resources available in the area. filmfyn.dk

7 FINLAND

FINNISH FILM FOUNDATION

The Finnish Film Foundation supports Eligibility for co-production support is and promotes the Finnish film industry. determined with the following criteria: Founded in 1969, The Foundation operates • Involvement of a Finnish co-producer under the Ministry of Education and ­Culture with Finnish distribution rights and is regulated by the Film Promotion • Creative and/or technical input Act and the Film Promotion Decree. from ­Finland The ­Foundation receives its funding from • Distribution of some kind in Finland lottery and pool funds and in 2015 • Relevance of the project for Finnish The Foundation handed out over EUR ­audiences 25,5 ­million in support for the production, • Possibilities for an ongoing ­distribution and exhibition of films. co-operation between the parties

Production Support The Support Application is made by Production support is given to an average the Finnish co-producer. There are of 80 films per year. The Foundation’s sup- no fixed deadlines for applying but it port makes up around 40 percent of the is ­recommended that the Finnish co-­ average feature film budget. The rest of the production partner is brought in as early as average budget is made up by television and possible. The amount of production support distribution companies, the producers’ own for minority co-productions has traditionally investment and financing from domestic ranged from EUR 50.000 to EUR 500.000, and international funds and investments. depending on the Finnish creative/technical Production support is available for feature input. There are no spend requirements for films, animations, short films, documenta- the support, nor is the support recoupable. ries and TV series. ses.fi/en

International Co-Productions Audiovisual Finland International co-productions are also Audiovisual Finland is an industry ­eligible for production support from The ­association facilitating the sales and Finnish Film Foundation when a Finnish co- ­marketing of Finnish content abroad. producer is involved. The Foundation funds audiovisualfinland.fi around 8 to 10 minority co-productions every year with a support budget of around Finland Film Commission EUR 1 million. Film Commissions and other location and production services for foreign productions interested in filming in Finland can be found at filmfinland.fi

8 FINLAND

Minority Co-Productions in 2015

FEATURE FILMS DIRECTOR PRODUCTION FINNISH COUNTRY COMPANY CO-PRODUCER OF ORIGIN LUCKY Mia Engberg Story AB Helsinki-filmi Sweden FANG RUNG Max Kestner SF Film Production Yellow Film & TV Denmark

DOCUMENTARIES DIRECTOR PRODUCTION FINNISH COUNTRY COMPANY CO-PRODUCER OF ORIGIN THE LANGUAGE Frans Huhta Karlsson Mantaray Film Oktober Sweden OF SILENCE TRANSFORMATION Camilla Madgid Final Cut For Real Tuffi Films Denmark PARADISE GOWNS Albina Griniute Benjamin River production napafilms Lithuania SCHOOL OF Lise Birk-Pedersen Magic Hour Films Mouka Filmi Denmark DEMOCRACY MAGNITSKY LIST Andrei Nekrasov Piraya Film Illume Norway

SHORT FILMS DIRECTOR PRODUCTION FINNISH COUNTRY COMPANY CO-PRODUCER OF ORIGIN MAUSOLEUM Lauri Randla Exitfilm Funny Films Estonia THE SHOWER Stefan Constantinescu Doppelganger Kinocompany Sweden THE COMMITTEE Jenni Toivoniemi & Kjellson&Wik Tuffi Films Sweden Gunhild Enger

9 ICELAND

ICELANDIC FILM CENTRE

The Icelandic Film Centre is a publicly The Icelandic Film Fund usually grants ­funded organization that falls under the production support to 3–4 narrative jurisdiction of the Icelandic Ministry of ­features each year, as well as approx. ­Education, Science and Culture but makes 8–10 documentaries, 2–3 short films, substantive decisions on independent and 2–3 TV series. grounds. The role of the Icelandic Film Support is also available for international ­Centre is to fund ­Icelandic films, promote co-productions with an Icelandic minority them abroad and nurture film culture in producer. Applications should be submitted Iceland by supporting local film festivals, by the Icelandic producer before production seminars and workshops for professionals. begins. They can be submitted at any time during the year and take approximately The Islandic Film Fund 8–10 weeks to process. The Icelandic Film Fund operates under the auspices of the Icelandic Film Centre. The When evaluating applications the fund’s role is to further Icelandic ­filmmaking following points are considered: by providing financial support to ­narrative • The degree of involvement by the features, documentaries, shorts, and ­Icelandic producer and the overall ­television fiction. A project supported by the ­Icelandic spend Icelandic Film Fund must be connected to • Artistic participation by Icelandic Iceland unless special circumstances apply. cast and crew • A letter of commitment to distribute Production Support the film in Iceland The Icelandic Film Centre will distribute www.icelandicfilmcentre.is ­approximately EUR 5 million in available grants in 2016, which is ­divided between narrative features and short films (EUR 3 million), documentaries (EUR 1 ­million), and TV fiction (EUR 1 million).

10 ICELAND

Recent Minority Co-Productions

Title Director Production Icelandic Country Company Co-ProduCER oF Origin THE AQUATIC EFFECT Sólveig Anspach Ex Nihilo Zik Zak Filmworks France THE WALL David Kinsella David Kinsella Compass Films Norway Productions SHAMER’S DAUGHTER Kenneth Kainz Nepenthe Film Truenorth Denmark GOOD THINGS AWAIT Phie Ambo Danish Documentary Vintage Pictures Denmark Production THE GRUMP Dome Karukoski Solar Films Inc. Icelandic Finland Film Company 16 YEARS ’TIL SUMMER Lou McLoughlan Loumclou Films Zik Zak Filmworks Scotland

Incentives – 20% reimbursements Recent productions reimbursed by Reimbursements are offered by the the Ministry of Industries and Innovation: ­Icelandic Ministry of Industries and STAR WARS: THE FORCE AWAKENS ­Innovation for 20% of eligible costs incurred by J.J. Abrams (USA) in the production of films and television FORTITUDE programs in Iceland. When more than 80% by Sam Millet et al. (UK) of the total production cost is incurred in DOCUMENTARY NOW! ­Iceland, the reimbursement is calculated by Alexander Buono and Rhys Thomas (USA) on the basis of the total production cost INTERSTELLAR ­incurred within the European Economic by Christopher Nolan (USA) Area. The reimbursement scheme does not LAND HO! cover production of commercials or music by Aaron Katz and Martha Stephens (USA) videos. RED VS. DEAD filminiceland.com by Tommy Wirkola (NO) THE SECRET LIFE OF WALTER MITTY by Ben Stiller (USA) NOAH by Darren Aronofsky (USA) GAME OF THRONES (seasons 2–4) by Alan Taylor (UK)

11 NORWAY

NORWEGIAN FILM INSTITUTE

The Norwegian Film Institute (NFI) When evaluating the applications, the operates under the authority of the Norwegian Film Institute will consider: ­Norwegian Ministry of Culture. The • Long-term plans for co-operation ­Institute is the Norwegian government’s ­between the producers ­administrative body for the film sector and • Use of Norwegian talent its advisor on film policy issues. The Board on both sides of the camera of the NFI is appointed by the Ministry. • Co-operation with Norwegian ­industry, The NFI’s 2015 budget is approx. EUR 63 equipment and facilities, location, million, of which approx. EUR 51 million is ­postproduction, VFX etc. earmarked for audiovisual development, Priority will be given to productions with production and distribution. The Institute strong artistic potential and/or recognized also offers personal grants, training and potential in the Norwegian market. ­talent development for the film industry. How to apply Co-Producing with Norway Applications for funding must be submitted Productions for theatrical release by the Norwegian minority producer. (features and documentaries) The project must be acknowledged as Funding is available for foreign productions a ­cultural product in the country of the destined for theatrical release, in which a ­delegate producer. If an application is made Norwegian producer participates as a minor- under the European Convention, it should be ity co-producer. The annual budget for 2015 forwarded to the Norwegian Film ­Institute is NOK 13 million (approx. EUR 1.55 million). through the Competent Authority in the Production funding can be granted for up to delegate producer’s home country. 50% of the Norwegian part of the budget, in A deal memo from a Norwegian film a range from EUR 100.000 to 500.000. ­distributor confirming the intention of a Funding from the Norwegian Film Institute theatrical release in Norway is required. can be combined with investment from The volume of support will be regional funds in Norway. ­determined on the basis of Norwegian Co-productions with a minority spending and the share of other ­Norwegian producer are eligible to apply Norwegian investment. for marketing support in Norway. They nfi.no will also be eligible to apply for ex post support for up to a total of 50% of the Deadlines 2016 Norwegian ­budget, calculated on the basis 1 February of ticket sales in ­Norway. All funding is non-­ Primo September recoupable.

12 NORWAY

The Incentive Scheme productions produced partly or entirely in The Incentive Scheme was introduced Norway that are intended for international on January 1st 2016. The budget for the distribution. scheme in 2016 is NOK 45 million. The funding from The Incentive Scheme The objective of The Incentive Scheme is cannot be combined with production or to increase the number of international films ­co-production grants from the Norwegian and series produced in Norway to ­promote Film Institute, but can be combined with Norwegian culture, history and ­nature development funding and marketing grants and improve the experience and skills of from the Norwegian Film Institute and the Norwegian film industry, stimulate ­funding from regional funds. growth, promote a sustainable Norwegian First deadline: January 21st 2016 film ­industry and support international co­ operation. The scheme will be granting up nfi.no/english/incentive to 25% return on costs spent in Norway to nfi.no/bransje/insentivordningen

Minority Co-Productions in 2015

FEATURE FILMS DIRECTOR PRODUCTION NORWEGIAN COUNTRY COMPANY CO-PRODUCER OF ORIGIN DEVIL’S BRIDE Saara Cantell Periferia Productions Pomor Film Finland LUCKY Mia Engberg Story AB Mechanix Film Sweden A CONSPIRACY Hans Petter Moland Entertainment Zentropa Int Norway / OF Faith Denmark LAW OF THE LAND Jussi Hiltunen Making Movies Sweet Films Finland THE POTENCY GIVERS Lena Koppel GötaFilm Norsk Superfilm Sweden (working title) THE MASTER Charlotte Sieling Nimbus Film Hummel & Nimbus Denmark 12 DARES Izer Aliu Zentropa Int Sweden Mer Film Sweden

13 NORWAY

Documentaries The annual budget for 2016 for It is possible to obtain funding for ­documentary co-production is approx. ­documentary productions not intended for NOK 3 million (approx. EUR 0.35 million). ­theatrical release with a Norwegian minor- ity co-producer. The evaluation procedure Deadlines 2016 and requirements are similar to theatrical Applications for 2016 have no specific dead- releases, but with some additional require- line and will be evaluated on a rolling basis. ments. The applications will be evaluated by one of the documentary film commissioners of the Norwegian Film Institute.

Minority Co-productions in 2015

DOCUMENTARIES DIRECTOR PRODUCTION NORWEGIAN COUNTRY COMPANY CO-PRODUCER OF ORIGIN MONALISA STORY Jessica Nettelbladt Lejoni Produktion AB True Fiction AS Sweden SCHOOL OF Lise Birk-Pedersen Magic Hour Films ApS Piraya Film AS Denmark DEMOCRACY TWISTERS Hanna Heilbom Story AB Sant & Usant AS Sweden POST-PUNK DISORDER Jukka Kärkkäinen & Mouka Filmi Oy Indie Film AS Finland J-P Passi DIVING INTO Juan Reina Monami Agency Oy Fuglene AS Finland THE UNKNOWN

14 NORWAY

SØRFOND – minority co-producer in order to cover THE NORWEGIAN ­administration expenses. SOUTH FILM FUND The Norwegian South Film Fund The main objective of SØRFOND is to is ­established with funding from the ­increase film production in countries ­Norwegian Ministry of Foreign Affairs where it is limited for political or ­economic and the Ministry of Culture. ­reasons. Film projects from over 150 ­countries in Asia, Africa, Europe, Latin Deadlines 2016 America and the Middle East are eligible 2 March for grants. Strong artistic value and cultural sorfond.com ­integrity are core ­priorities. One of the main ­characteristics of ­SØRFOND is the mission to encourage productions dealing with ­freedom of ­expression. INTERNATIONAL Grants from SØRFOND contribute to film SÁMI FILM INSTITUT (ISFI) productions whose main producer is based The International Sámi Film Institute (ISFI) in countries on the current OECD DAC list of is dedicated to providing Sámi people with ODA recipients. A Norwegian minority co- the skills and economic opportunities for producer is required. The majority ­producer developing, producing and distributing Sámi must represent a private production films in the Sámi language. In addition, the ­company with main responsibility for the ISF is a centre for promoting cooperation financial planning and practical implement­ and encouraging productions with other ation of the project. The minority producer indigenous filmmakers and organizations must represent a private and ­independent internationally. production company in Norway that is The ISFI was founded in 2007 in Gouvda­ not publicly owned and is independent in geaidnu/Kautokeino, Norway. The initial ­relation to broadcaster ownership. capital was NOK 1.5 million, provided by SØRFOND grants production support as the Norwegian Ministry of Culture for film top financing, i.e. a substantial part of the ­activities, and an additional NOK 300,000 budget (50%) must already be confirmed. from the Norwegian Sámi Parliament. The fund supports fiction films and docu- The ISF is intended to serve professional mentaries produced for theatrical release, film workers across the Sámi area, both in for television or other media platforms. Norway, Sweden, Finland and Russia. The minimum duration time is 50 min. The Film projects presented to the ISF are maximum support for a single production ­primarily to be produced in the is NOK 1.000.000, or approx. EUR 118,000. Sámi ­language. Of this, a 10% overhead is granted to the isfi.no

15 NORWAY

REGIONAL FILM FUNDS

There are six regional film funds in ­Norway. Filmfond Nord was established in 2012 Most of them can support audiovisual and is based in Bodø. It provides top ­productions of all genres and formats, financing for feature films and TV dramas ­including international co-productions and that help develop the film industry of the video games. region. filmfondnord.no Filmkraft Investis based in Stavanger. It invests in Norwegian and/or international productions that help develop the film industry of the region. filmkraft.no FILM COMMISSIONS Fuzz is based in Bergen. It provides top financing and co-produces feature films, TV dramas and interactive games with a There is one national and three regional significant part of the production carried film commissions in Norway that offer out in the region. ­facilitation for foreign productions carried fuzz.no out in their region. Film3 is based in Lillehammer. It can act Film Commission Norway is a part of the as a co-producer for Norwegian and/or ­Department of Promotion and ­International international feature films and TV dramas Relations at the Filminstitute and aims with connections to the region. to encourage and aid international film film3.no ­productions in Norway, and acts as a link Filminvest Midt-Norge is based in between the national and international film Trondheim. It provides top financing for ­­ and television industry. co-productions with a regional producer. norwegianfilm.com The fund covers the areas of Central Norway The national commission is in intensive and Central Sweden – from the Norwegian collaboration with the three regional film Atlantic Coast to the Baltic Sea. commissions: midtnorskfilm.no • Western Norwegian Film Commission FilmCamp is located in Øverbygd in the is based in Bergen municipality of Målselv, one and a half hours wnfc.no from Tromsø. It is a regional resource and • Filmkraft Rogaland is based in Stavanger infrastructure company that also provides filmkraft.no funding for film and TV productions shot in • Mid Nordic Film Region the region is based in Trondheim or at FilmCamp. midtnorskfilm.no filmcamp.no nfi.no/english/film-commission

16 SWEDEN

SWEDISH FILM INSTITUTE

The Minority Co-Production Scheme Examples of artistic functions: screenplay, Co-production of feature films, documenta- direction, cinematography, art direction, ries and short films with a ­Swedish minority costume, editing, sound, score composer producer. and actors. Examples of technical functions: Why Co-Productions? lab, sound mixing, studio, locations. The aim of funding co-productions is to The contribution of the Swedish Film strengthen working relationships ­between Institute can be a maximum of 80% of the Swedish production companies and ­foreign Swedish financing. The Swedish financing producers. It should also inspire and must be in proportion to the Swedish spend. ­facilitate competence development, ­improve ­opportunities to secureinternational ­ The application should include ­financing and help films to cross borders. • An evaluation form with documentation The Swedish Film Institute provides that confirms points. ­funding for 8–10 minority co-productions • A full screenplay. per year. • Details of the co-operation between the Swedish producer and the major ­producer Who can apply? (both previous and future projects). • Applications must be submitted by • Specification of the Swedish artistic and established Swedish production technical involvement. companies, active within the Swedish • Budget in SEK with a specific column to production environment. specify the Swedish spend. • The Swedish producer is responsible • Financing plan in SEK, with a detailed for the Swedish artistic, financial and specification of the Swedish contribution, technical elements of the co-production. including possible LOI/LOC. • Distribution plan, including Primary evaluation criteria minimum LOI or the like. • The long-term partnership between • Schedule. Swedish and foreign producer, artistic Note: The application and supporting and financial. ­documents form the basis on which the • The proportion of Swedish participation Swedish Film Institute’s evaluation is made. in the production: artistic, technical Deviations from these may change the and financial. ­evaluation of the project. • Distribution (theatrical or full coverage national television distribution). • Artistic qualities.

17 SWEDEN

Evaluation process A preliminary evaluation of the project Regional is made by the funding department. The screenplay and supporting information Film Funds and is then passed on to a film commissioner for Commissions artistic evaluation. If the project qualifies both technically There are four regional film funds in and artistically, the film commissioner may ­Sweden: Film i Skåne, Filmpool Nord, recommend it to the board of the Swedish Film Region Stockholm-Mälardalen and Film Institute for production funding. Film i Väst. They all have interest and long If the project does not fulfil the basic experience in international co-productions. ­requirements for co-production, no ­artistic In addition, the four branches of evaluation is made. Applications take Sweden Film Commission cover the whole ­approximately eight weeks to process. country from Lapland to Oresund and Furthermore, our standard conditions ­Stockholm to West Sweden. for production funding apply. swedenfilmcommission.com sfi.se slfc.se frsm.se/stockholm-film-commission filmivast.se oresundfilm.com

18 SWEDEN

Advance support to minority co-productions (decisions taken in 2015)

FEATURE-LENGTH DIRECTOR PRODUCTION SWEDISH COUNTRY FICTION FILMS COMPANY CO-PRODUCER OF ORIGIN ALL ROADS LEAD Sezar Film AIE The Chimney Pot Spain TO ROME Sverige AB BACKSTABBING Per Fly Creative Alliance Eyeworks Scandi Denmark FOR BEGINNERS Fiction AB THE WAVE Roar Uthaug Fantefilm Fiksjon AS Tre Vänner Norway Produktion AB DEVIL’S BRIDE Saara Cantell Periferia Productions Oy GötaFilm Finland International AB YOU DISAPPEAR Peter Schønau Fog Zentropa Entertainment Zentropa Int. Denmark Sweden AB FANG RUNG Max Kestner SF Film Production ApS Tre Vänner Denmark Produktion AB EGGG Hanne Larsen Maipo Film AS Most Film AB Norway THE KING’S CHOICE Erik Poppe Paradox Rettigheter AS Zentropa Int. Norway Sweden AB THE KEY Timur Makarevic Proba Chinema Film Bosnia & Sweden AB Herzegovina

FEATURE-LENGTH DIRECTOR PRODUCTION SWEDISH COUNTRY DOCUMENTARIES COMPANY CO-PRODUCER OF ORIGIN POST-PUNK DISORDER Jukka Kärkkäinen Mouka Filmi Oy Auto Images AB Finland

SHORT FICTION DIRECTOR PRODUCTION SWEDISH COUNTRY FILMS COMPANY CO-PRODUCER OF ORIGIN AMBULANCE Sebastian Maipo Film AS Zentropa Int. Norway Torngren Wartin Sweden AB O.M.G Marja Bål Nango Firma Marja Bål Nango Fotograf Norway (OH MÁIGON GIRL) Hans-Olof Utsi AB

SHORT DIRECTOR PRODUCTION SWEDISH COUNTRY DOCUMENTARIES COMPANY CO-PRODUCER OF ORIGIN CHAMP DES POSSIBLES Cristina Picchi PRIM Cinenic Film AB Canada Centre D’arts Médiatiques DANCING FOR YOU Erlend E. Mo Sant og Usant Story AB Norway VARICELLA Victor Kossakovsky Sant og Usant Story AB Norway

19 NORDISK FILM & TV FOND

20 NORDISK FILM & TV FOND

Established in 1990 and based in Oslo, The film/TV-series/documentary ­Nordisk Film & TV Fond’s primary purpose must be: is to promote film and TV productions of • Suited for cinema exhibition, high quality in the five Nordic countries TV distribution or for other type ­ ­(Denmark, Finland, Iceland, Norway and of distribution Sweden) by providing top-up financing for • Considered to have a significant feature films, TV-fiction/drama series and audience potential primarily in the creative documentaries. Nordisk Film & TV Nordic countries and, secondarily, Fond is also secretariat to the prestigious in the global market Nordic Council Film Prize and arranges and hosts the annual event Nordic Talents held The following must be confirmed: in Copenhagen each autumn. • National base funding Nordisk Film & TV Fond is funded by • Distribution guarantee for cinema 17 partners: the Nordic Council of Ministers, and/or broadcast agreement in two five national film institutes/funds and 11 Nordic countries public service and private TV stations within the region. The annual budget is approxi- The application must be: mately NOK 100 million (EUR 10,500,000). • Submitted before production starts • Submitted via our online Nordisk Film & TV Fond’s production fund- application­system ing may be applied for by Nordic production companies who are delegate producers of Nordisk Film & TV Fond does not contribute the project. There are no ­application dead- to the funding of a project that has been lines, but the processing time is normally pre-sold to, or that is co-produced by, 4–6 weeks. Projects aimed at children and a Nordic TV broadcaster that is not one of youth are prioritised. the TV Partners of the Fund. For details visit our web page nordiskfilmogtvfond.com

21 NORDISK FILM & TV FOND

A selection of our projects

Feature films Director Production Country COMPANY OF origin Fang Rung Max Kestner SF FIlm Production Denmark Framing Mom Sara Johnsen 4 1/2 Fiksjon Norway Ploey – YOU Árni Ólafur Ásgeirsson, GunHil Iceland never fly alone Gunnar Karlsson Siv Sleeps Astray Catti Edfeldt, Snowcloud Sweden Lena Hanno Clyne Tom of Finland Dome Karukoski Helsinki-filmi Finland

DOCUMENTARIES Director Production Country COMPANY OF origin Magnus Benjamin Ree Moskus Film Norway Post Punk Jukka Kärkkäinen Mouka Filmi Finland Disorder School of Lise Birk-Pedersen Magic Hour Films Denmark Democracy The Acali Marcus Lindeen Fasad Sweden Experiment

Tv series Director Production Country COMPANY OF origin Midnight Sun Mats Mårlind, Nice Drama Sweden Björn Stein Replacements Miikko Oikkonen Fisher King Finland The Other World Lars Kaalund, DR Denmark Tilde Harkamp Valkyrien Erik Richter Strand Tordenfilm Norway

22 NORDISK FILM & TV FOND

Nordisk Film & TV Fond also funds a range of Nordisk Film & TV Fond also assists other initiatives to assist Nordic productions ­professionals in developing and improving to travel throughout the region and interna- their knowledge and skills by supporting a tionally. range of film events of Nordic ­importance such as festivals, seminars or forums Nordic Genre Boost through Film Cultural Initiatives funding. • Nordic Genre Boost provides workshops For more information about all our and development funding for selected ­funding schemes, guidelines and how to Nordic genre film projects ­apply, visit on our web page • Nordic Genre Boost’s 2nd round runs nordiskfilmogtvfond.com through 2016 and has budget of To keep up to date with the Fund’s NOK 2 million ­activity and news from the Nordic film and TV industry, ­subscribe to our weekly Our distribution funding is specifically ­newsletter or like us on Facebook. designed to improve the circulation of Nordic films across the Nordic region, and Nordisk Film & TV Fond to respond to the fast changing nature of CEO Petri Kemppinen distribution in the digital world. In 2016 our Kristian Augusts gate 13 budget for distribution funding is 0164 Oslo Norway NOK 6 million. T: +47 64006080 [email protected] Our schemes for nordiskfilmogtvfond.com theatrical distribution facebook.com/nordiskfilmogtvfond funding are: • Distribution/dubbing funding for single films • Slate funding for distribution of up to three films

In addition these three distribution initiatives are running in 2016: • Digital Distribution Support • Recruited Audience Screening Support • Nordic Film Marketing Support Scheme

23 CREATIVE EUROPE DESKS DENMARK, FINLAND, ICELAND, NORWAY, SWEDEN

24 CREATIVE EUROPE DESKS

DENMARK, FINLAND, ICELAND, NORWAY, SWEDEN

Creative Europe (2014–2020) is ­supporting In addition, we see our the European audiovisual, cultural and most important tasks as creative sectors with a budget of EUR 1.46 • Assisting applicants in billion. The Creative Europe programme the application process has two sub-programmes: Culture, Media • Organizing events that will help the and a cross-sectorial strand covering both film/ TV/game industry get information, sub-programmes. The Creative Europe ­network, partners and financing ­programme replaces the former Culture • Matchmaking and advising about (2007–2014), MEDIA (2007–2014) and ­financing and funding opportunities in ­MEDIA ­Mundus programmes. other countries supported by the The national Creative Europe MEDIA MEDIA ­sub-programme Desks have the ambition to consult, inform • Ensuring professionalization and and advise the audiovisual sectors and internationalization of ­industries about the MEDIA sub-programme the audiovisual industries and the specific funding opportunities ­represented in the specific calls. The MEDIA sub-programme of Creative Europe supports the EU film and audiovisual The role of the Creative Europe Desks industries financially – in development, • To ensure broad knowledge of ­production, distribution and promotion. the ­Creative Europe Programme The programme helps to launch projects • To facilitate national participation in with a European dimension and nurtures the Creative Europe Programme with new technologies; it enables European the widest number of audiovisual film and audiovisual work to find markets ­professionals and companies in ­beyond national and European borders; the ­creative and cultural sector it funds training and development schemes. • To provide citizens with information about the Creative Europe Programme

25 CREATIVE EUROPE

CREATIVE EUROPE DESK DENMARK CREATIVE EUROPE DESK NORWAY Ene Katrine Rasmussen Kåre Jensen Danish Film Institute Norwegian Film Institute Gothersgade 55 P.O.Box 482 Sentrum 1123 Copenhagen K, Denmark 0105 Oslo, Norway +45 2047 0290 +47 22478866 [email protected] [email protected] etkreativteuropa.eu kreativteuropa.no

CREATIVE EUROPE DESK FINLAND CREATIVE EUROPE DESK SWEDEN Kerstin Degerman Ulrika Nisell The Finnish Film Foundation Swedish Film Institute Kanavakatu 12 BOX 27126, Filmhuset, Borgvägen 1–5 FI - 00160 Helsinki, Finland S - 10252 Stockholm, Sweden +358 9 6220 3013 +46 86651205 [email protected] [email protected] luovaeurooppa.eu kreativaeuropa.eu

CREATIVE EUROPE DESK ICELAND Sigriður Margrét Vigfúsdóttir RANNIS – The Icelandic Centre for Research Dunhaga 5 107 Reykjavik, Iceland +354 8996366 [email protected] rannis.is/sjodir/menning-listir/ creative-europe/

26 CONTACTS

DENMARK Swedish Lapland Film Commission DANISH FILM INSTITUTE Berit Tilly Noemi Ferrer, Head of International [email protected] [email protected] Filmregion Stockholm-Mälardalen COPENHAGEN FILM FUND Film Commission Thomas Gammeltoft, CEO Ingrid Rudefors [email protected] [email protected] THE WEST DANISH FILM FUND West Sweden Film Commission Carsten Holst, CEO Nina Sekund [email protected] [email protected] Steen Risom, Film Commissioner Oresund Film Commission [email protected] Mikael Svensson FILM FYN [email protected] Bo Damgaard, Managing Director [email protected] NORWAY Julie Linn Milling, Film Commissioner NORWEGIAN FILM INSTITUTE [email protected] Sveinung Golimo, Executive Director – Production and Development FINLAND [email protected] THE FINNISH FILM FOUNDATION Anne Frilseth, Senior Advisor Reetta Hautamäki, Production – Feature Films Co-production coordinator [email protected] [email protected] Bjørn Arne Odden, Senior Advisor Production – Documentary Films ICELAND [email protected] ICELANDIC FILM CENTRE SØRFOND – THE SOUTH FILM FUND Laufey Gudjónsdóttir, Director Ingrid Festøy Ottesen, [email protected] Senior Advisor Production Thór Tjörvi Thórsson, Head of Production [email protected] and International Relations [email protected] THE INTERNATIONAL SÁMI FILM CENTRE P.O Box 203, 9521 Guovdageaidnu/Kautokeino SWEDEN [email protected] SWEDISH FILM INSTITUTE REGIONAL FILM COMMISSION Susanne Tiger, Production Controller Truls Kontny, Head of Film [email protected] Commission Norway Kristina Thunell, Administrator [email protected] [email protected] Wibecke Rønseth, Norwegian Kristina Börjeson, Head of Film Funding Representative to Eurimages [email protected] [email protected]

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