18/08/2025 - Ahead of this year’s New Nordic Films, the film professional discusses the Baltic Focus, emerging Nordic storytelling trends and how Haugesund fosters long-term creative connections

(© Jorunn Bjørndal Lilleland)

Ahead of the 2025 edition of New Nordic Films (19-22 August), its head, Gyda Velvin Myklebust, shares her ambitions for this year’s market, which highlights collaboration with the Baltic region, a diverse range of emerging Nordic narratives, and a stronger focus on animation, indigenous cinema and forward-looking marketing strategies.

Cineuropa: This year’s programme highlights collaboration with the Baltic region. What inspired this focus, and what kind of partnerships do you hope it will generate?
Gyda Velvin Myklebust: The Nordic and Baltic film communities have much in common – shared stories, complementary cultures and a natural affinity for co-production, as we are small regions with limited markets within our national borders. Yet, despite our geographical closeness, there’s still untapped potential for collaboration. I am impressed by the rapidly growing film industries in the Baltic countries, their strong talents and their unique storytelling voices. So, when the opportunity arose, it was a natural choice to turn towards that region. By creating the Baltic Focus this year, we are hopefully forging long-lasting connections between producers, festivals, funding bodies and creative talent. I strongly believe our Baltic Focus will lead to new constellations of co-productions, cross-border distribution, broadened networks and a deeper mutual understanding of our storytelling traditions.

In Works-in-Progress and the Nordic Co-Production Market, which trends or themes stand out to you this year?
We’re seeing a strong wave of deeply personal storytelling narratives that are grounded in our Nordic reality but resonate on a global scale. Filmmakers are brave, bold and willing to stretch themselves to make content of high artistic value in an authentic way. I can also see a strong tendency towards fantasy and horror films, which might reflect the anxious feeling of living in an uncertain time. Also, we know that scary films sell; the younger audience has a taste for the unnatural and loves to get frightened in safe settings. I can also see more projects with comedy elements, which can, on the flip side, reflect the same zeitgeist. As per Nordic tradition, those films are set in a well-known Nordic reality, depict social challenges and have a deeply humanistic feel, even though they are wrapped up as genre films. On the production side, there’s a clear rise in sustainable filmmaking practices. These aren’t just technical shifts; they’re redefining the way we think about which stories to tell, which locations to choose, where to shoot, and with whom to collaborate. I think I can see a growing responsibility in film production.

The Nordic Animation Showcase is another major feature. What led to its inclusion, and how do you see Nordic animation developing creatively and in terms of international reach?
Nordic animation has always had a strong tradition in children’s content, but in recent years, we’ve seen a remarkable diversification both in genre and in artistic approach. There’s a growing boldness in how our animation studios and filmmakers tackle complex themes and develop distinctive visual languages. With the Nordic Animation Showcase, we wanted to give this talent the spotlight it deserves. Internationally, Nordic animation is gaining momentum, not just because of its artistry, but also because of the original storytelling and the high standards of craftmanship and well-produced films. The Nordics are also known to take their audience, even the youngest ones, seriously. Even though the stories might be rooted in Nordic culture or folklore, they often carry a clear narrative voice and a strong sense of place – qualities that travel extremely well.

This year also includes a spotlight on indigenous cinema and a round-table on the future of film marketing. How do these initiatives broaden the scope of New Nordic Films?
Both initiatives reflect our belief that film markets must be spaces for exchange, broadening perspectives and giving us the possibility to explore something new. The indigenous cinema spotlight is about showing the amazing talents rising in the North, ensuring that Sámi voices and other indigenous perspectives are integrated into the broader Nordic and international film landscape. The round-table on the future of film marketing addresses a different but equally vital need: rethinking how we reach audiences in an age of shifting viewing habits and fierce competition for attention. My hope is that these events spark curiosity and new conversations between creatives, distributors and platforms.

Looking ahead to this year’s market, what personal ambitions or impressions are guiding you?
Every year, my ambition for Haugesund is for it to be a remarkable and efficient place for talents, new discoveries, creative exchange and business. We want to be a safe space and a catalyst for new collaborations within filmmaking and film distribution. We want people to leave feeling they have discovered something unexpected, forged a connection they hadn’t anticipated, or gained momentum with their film. This year, with our international reach and our thematic focus, my hope is that we will plant seeds for collaborations that will flourish for many years to come. I’m always moved when I see filmmakers and film industries from very different backgrounds come together, get to know each other and realise they have so much in common. They are all committed to moving people by telling parts of the same human story through the film medium they all share such a passion for.