email print share on Facebook share on Twitter share on LinkedIn share on reddit pin on Pinterest

NOUVEAU CINÉMA MONTRÉAL 2024 Nouveau Marché

Grímur Hákonarson, Sara Nassim • Director and producer of 200 Kopavogur

“The film speaks to a very delicate subject – infertility – and how one deals with that”

by 

- The director-producer duo behind the project selected for the Nouveau Marché in Montreal unpick their story set in 1960s Iceland, revolving around a complex family dynamic

Grímur Hákonarson, Sara Nassim • Director and producer of 200 Kopavogur

Grímur Hákonarson and Sara Nassim, the director-producer duo behind the project 200 Kopavogur, selected for the Nouveau Marché in Montreal (see the report), unpick their story set in 1960s Iceland, revolving around a complex family dynamic.

Cineuropa: What are your motivations behind this project, and why did you decide to work on this story?
Grímur Hákonarson:
I grew up in Kópavogur. The town has an interesting history: in the 1960s, it got built up very quickly. There was a liberal kind of leftist government, and everyone was allowed to go there and build their houses. Sometimes, it was called the "California of the North". My father built a house there with his brother, and they lived on two separate floors. The inspiration for the story is personal; the main character is based on my father, and the two brothers create some conflict between themselves and within the family.

(The article continues below - Commercial information)
legroupeouest_appel-a-projets468

Sara, what prompted you to get involved with the film as a producer?
Sara Nassim:
I think the film speaks to a very delicate subject – infertility – and how one deals with that, especially in the 1960s, when there weren't many options for assistance. This dynamic between the brothers was another thing that attracted me to the project. Grímur and I have known each other for a long time, and we worked on The County [+see also:
film review
trailer
interview: Grímur Hákonarson
film profile
]
together. It felt like an organic step to start collaborating further, and this seemed to be a really good project to begin with.

GH: It’s a low-key and down-to-earth film with not much dialogue, and it relies heavily on visual storytelling. I would say it’s a perfect extension of my other films.

What are the main challenges from the perspectives of a director and a producer?
GH:
Well, with this film being set in the 1960s, it’s the first period film I’ve worked on, which presents challenges in recreating Kópavogur as it was back then. The town has changed; today, it’s filled with new houses, trees and gardens, whereas it used to have gravel roads and a rougher look. Another challenge is finding the right actors; they’re mostly young and inexperienced, which entails a lot of preparation.

SN: Grímur mentions a significant challenge in creating that atmosphere, especially since it’s 2024 now, and life is vastly different from how it was in the 1960s. Creating that environment will take a lot of detailed work and will have some costs associated with it. The film also takes place over a period of several years, so we're looking at how a neighbourhood that started almost from nothing grows into what it becomes over time. The house and the surroundings are almost like a character in the film.

What are you looking for at the Nouveau Marché? Have you had any good meetings or set up any collaborations?
SN:
We’ve met a lot of good people and potential partners. We’re interested not just in Canada, but also in connecting with international professionals. The film is a bit more expensive than a contemporary story, so we need to search for funding, which requires more effort.

GH: We’re also talking to people who can help us financially and creatively. Those two elements need to align for a successful co-production structure.

What are the most natural countries for you to collaborate with? Are there any countries you prefer to work with?
SN:
It really depends on the project. We are experienced with co-productions because we have a need for that, given the financing structures we work with. We tend to collaborate a lot with the Nordic states, which feels organic. But we also work with France, Germany and Belgium; these countries have been strong partners for co-productions in recent years, alongside the Nordics.

(The article continues below - Commercial information)

Did you enjoy reading this article? Please subscribe to our newsletter to receive more stories like this directly in your inbox.

Privacy Policy