The inaugural edition of the Visions Nordiques – French Nordic Film Days – marked a significant milestone in celebrating the rich cinematic ties between France and the Nordic countries. Held from March 5 to March 9, the festival brought together filmmakers, industry professionals, and audiences across several iconic locations in Paris, including the Grand Action theater. Alongside screenings and tributes, the festival featured an industry program and co-production workshops at the CNC (France’s National Film Board) and the Institut Suedois, further highlighting the collaborative spirit of the event. At the heart of the festival was a diverse lineup of 17 films, showcasing the unique storytelling and artistic excellence of Nordic cinema. Among the highlights was Dag Johan Haugerud’s “Love,” which premiered in France after its successful run at Venice, alongside Baltasar Kormákur’s “Touch,” Eirik Svensson’s “Safe House,” Lilja Ingolfsdottir’s “Loveable,” and Frida Kempff’s “The Swedish Torpedo.”
The festival was a joint initiative by The Five Nordics, representing the film institutes of Denmark, Finland, Iceland, Norway, and Sweden, in partnership with France’s National Film Board. It also enjoyed the support of the Nordic Council of Ministers and the Embassies of the Nordic countries in France. The curated selection of films was overseen by a team of industry experts, including Swedish arthouse producer and distributor Mattias Nohrborg of TriArt Film, Baptiste Pépin from the Institut suédois, and post-production manager Amanda Nohrborg. This collaborative effort ensured a program that not only celebrated the diversity of Nordic storytelling but also emphasized the deep historical and cultural connections between the Nordic region and France. The festival also paid tribute to iconic filmmakers Lars von Trier and Aki Kaurismäki, with screenings of their seminal works “Breaking the Waves” and “Le Havre,” respectively, further cementing the legacy of Nordic cinema in France.
Visions Nordiques was more than just a film festival; it represented a strategic effort to strengthen the bonds between French and Nordic filmmakers. Gaëtan Bruel, the newly appointed president of France’s CNC and former director of the French Cultural Services in the U.S., emphasized the importance of this event. Bruel highlighted France’s long-standing support for Nordic cinema, particularly through initiatives like the Cinema du Monde subsidy fund, which has financed 17 Nordic films over the past two years. He noted that cinema has the power to shape imagination and foster unity across industries and nations. “Today, the international context challenges us all,” Bruel said, “and forces us to strengthen Europe as a unified space, not only in military terms but also in culture.” Bruel also pointed to upcoming Nordic films, such as Joachim Trier’s “Sentimental Value” and Tarik Saleh’s “Eagles Of The Republic,” both partially financed with French support, as examples of the fruitful collaboration between the two regions.
Gísli Snær Erlingsson, head of the Icelandic Film Centre and a representative of The Five Nordics, echoed Bruel’s sentiments, calling Visions Nordiques a “significant step in strengthening the historic bonds between our film industries.” Erlingsson underscored the festival’s focus on building new connections through panels, case studies, and co-production workshops. These events brought together industry leaders to explore topics such as distribution systems, filmmaker support, and the shared commitment to environmental sustainability in film production. The workshops highlighted the mutual benefits of collaboration, providing a platform for Nordic and French filmmakers to exchange ideas and explore opportunities for future projects.
The festival’s industry program also featured engaging discussions on distribution and international sales, with notable speakers such as Sarah Chazelle of Jour2Fête, Kim Foss of Camera Film, and Martin Jérôme of Condor Distribution. Another roundtable brought together experts like Noémie Devide of Goodfellas, Alexandre Moreau of Memento International, and producer Katrin Pors of Snowglobe. These sessions not only shed light on the evolving landscape of film distribution but also highlighted the critical role of French sales agents in bringing Nordic films to global audiences. For instance, Memento International is currently handling the international sales for Emilie Blichfeldt’s horror film “The Ugly Stepsister,” which has gained traction after its premiere at Sundance. Similarly, Trier’s films have been distributed by MK2 Films, while Saleh’s upcoming project is being sold by Playtime. These partnerships demonstrate the enduring appeal of Nordic cinema and its ability to resonate with diverse audiences worldwide.
In conclusion, the Visions Nordiques festival was a testament to the enduring cultural and cinematic ties between France and the Nordic countries. By showcasing a curated selection of Nordic films, paying tribute to legendary filmmakers, and fostering meaningful industry collaborations, the festival provided a platform to celebrate shared values and explore new opportunities for creative exchange. As Europe navigates an increasingly complex global landscape, events like Visions Nordiques underscore the importance of cultural unity and the transformative power of cinema to inspire and connect people across borders. With its focus on innovation, sustainability
