Haugesund’s French Focus: A ‘Dope’ New Wave for Nordic Cinema, No Cap

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Heads up, film buffs! The New Nordic Films event in Haugesund is rolling out something pretty ‘dope’ – its inaugural French Focus. Set for August 25-28, this initiative aims to seriously boost partnerships and co-productions between France and the Nordic countries, no cap. This ambitious ‘French Focus’ is backed by heavyweight partners like the Institut Français de Norvège, France’s Ministry of Europe and Foreign Affairs, the National Center for Cinema (CNC), and Unifrance, signaling a high-key commitment to international synergy.

Central to this gathering is a pitching session on August 26, featuring four French films in development. Two projects come from the pedigreed producer Les Valseurs, known for recent Cannes Un Certain Regard awards for films like ‘Elephants in the Fog’ and ‘The Mysterious Gaze of the Flamingo.’ Their slate includes ‘Borderline,’ a feature-length spin-off of Yves Piat’s Oscar and César-nominated short, ‘Nefta Football Club,’ praised for its deadpan humor. The other, ‘All the Softness in the World,’ is an ambitious animation by Turkish artist Ayçe Kartal, exploring identity in 1950s Paris haute couture, following her award-winning short ‘Wicked Girl.’

The focus also spotlights two other directorial debuts. ‘Boutès,’ a creative documentary by Jeanne Géli and Loïs Szymczak, produced by Womanray’s Marielle Tricoire, captures a forensic pathologist and an Olympic diver’s personal journey through illness. Additionally, ‘Temporary Lives’ by Syrian-Norwegian filmmaker Wessam Hachicho, produced by Respiro Productions, draws from her own experiences, depicting a Syrian teenage refugee and his estranged father seeking asylum in Oslo, tackling themes of trauma and family bonds.

A major highlight is a case study on the anticipated ‘Ibelin,’ helmed by Norwegian-born Morten Tyldum, famously known for the Oscar-winning ‘The Imitation Game.’ This biopic about online gamer Mats Steen features Charlie Plummer, Stephen Graham, Toni Collette, and Bill Nighy. According to the report, the film is currently in production for France’s Vendôme Pictures and Pathé, alongside Norway’s Neby-Tyldum AS. It’s a project that’s got everyone buzzing, for real.

Gyda Velvin Myklebust, head of New Nordic Films, expressed high hopes, noting French cinema’s ‘high artistic quality’ and the Nordic region’s recent international impact, including Norway’s first-ever Oscar win for ‘Sentimental Value.’ She believes this focus will spark a ‘French-Nordic wave’ of co-productions. Kjersti Mo, CEO at the Norwegian Film Institute, reinforced this, emphasizing that ‘European film depends on stronger international collaboration.’

Michel Plazanet, CNC director of international affairs, detailed the mutual benefits. For Nordic countries, French partnerships offer access to crucial funding, improved distribution, and better entry into the French theatrical market. Conversely, Nordics provide ‘robust institutions, substantial and diverse public and private funding, and reliable professionals accustomed to international co-production.’ This synergy has already seen ‘Aide au Cinéma du Monde’ (ACM) support 20 Nordic projects, including works from acclaimed filmmakers Joachim Trier and Tarik Saleh, demonstrating a strong historical foundation.

Industry insiders are pumped. Julie Billy of June Films, who just secured ACM support for an Icelandic project, sees the French Focus as ‘exactly the right moment,’ also keen on discovering Sámi community creators. Andrea Berendsen Ottmar of Eye Eye Pictures hopes for inspiration to ‘think outside the box’ in financing projects, emphasizing the need for independent producers to ‘stand together and support each other.’ It’s clear the industry is ready to take things to the next level.

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Livia Dorne
Livia Dorne
Livia Dorne covers film, television, music, and pop culture with a keen editorial perspective. She delivers engaging commentary, reviews, and behind-the-scenes insights that keep readers connected to the entertainment world. Her style blends critique with storytelling.

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