07/04/2003

As a result of the production subsidies crisis, independent producers have indeed had to raise their own investments and risks. The positive effect, however, was greater financial commitment from a number of local distributors – notably Sonet Film , the biggest distributor of Swedish films, and Triangelfilm, who offered more minimum guarantees (MGs) on local products. The regional Film Funds meanwhile have continued to play an increasingly important role in Swedish film financing; contributing between 10 percent and 12 per cent to film production in 2002.
In particular, Film I Väst (FiV), the regional film centre situated in Western Sweden, has become, since its creation in 1992, the most active co-production partner in Scandinavia: participating in half of all films shot in Sweden in recent years. High profile production outfits such as Sweden’s Memfis Film (who produce the films of Lukas Moodysson and Joseph Fares), Sonet Film (Everyone Loves Alice), Illusion Film (Before The Storm) and Denmark’s Zentropa Productions have opened offices in FiV’s production centre Trollhättan. Also a total of 153 film and TV companies are located in the region that’s earned itself the colourful nickname of Trollywood.
“We have been able to build a film industry in a small Swedish town, something everyone said was impossible,” said Tomas Eskilsson, the head of FiV. “In May of this year we will start building a new and bigger sound stage and a vast number of offices for new companies. Another important step will be taken to reach our goal which is to become Europe’s most dynamic and vibrant film region,” he added with pride.
With a total annual budget of Euros7.5m (including Euros5m for feature films), FiV co-produced some 15 feature films in 2002. They include Lars von Trier’s Dogville [+see also:
trailer
film profile], Joseph Fares’ hit Kopps (637,000 admissions so far), Søren Kragh-Jacobsen’s Skagerrak and Kristian Petri’s Details. Currently in production at Trollhättan are Anders Nilsson’s first English-language film, The Third Wave, and Kjell-Åke Andersson’s Mamma, Pappa, Barn.

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So in spite of a general fall in the number of Swedish films made in 2002 (22 compared to 25 in 2001), the 2000 record high of 36 films, and the fact that 2003 will probably only result in about a dozen new productions, the creative pool in Sweden has never been as vibrant or eclectic. In the coming months, talented filmmakers from different backgrounds and generations will offer Swedish and international audiences a taste of their latest creations, such as the eagerly awaited Saraband from the “Master” himself, Ingmar Bergman, Kom Igen (Come Again) from Reza Bagher, who directed Wings of Glass, Mikael Håfström’s Ondskan (Evil), Lisa Ohlin’s romantic comedy Till fallig Fru Sokes (Seeking Temporary Wife), Paradise from Oscar-nominated director Colin Nutley (Under The Sun) and Smala Sussie from Ulf Malmros (A Summer Tale).