As Nordisk Panorama gears up for its upcoming edition in Malmö, Sweden, running from 17-22 September, we chatted to its executive director, Heidi Elise Christensen, and the team of programmers: Cecilia Lidin and Karrar Al-Azzawi, who are curating the documentary competition; and Sam Groves and Lucile Bourliaud, who are in charge of shorts.

Cineuropa: How do you pick films for the festival programme?
Cecilia Lidin, Karrar Al-Azzawi: For the documentary competition, we pick 12 films from among more than 150 submissions that best represent the talent, the issues and the diversity of cinematic voices across the region. Our main focus is to select titles that honour documentary film as an art form that the region so heavily represents. A recurring question is whether the topic is sometimes more important than the cinematic form, but we want to create a selection that showcases the wide range of cinematic approaches that are artistically ambitious, and have clear personal signatures and a message.

Sam Groves, Lucile Bourliaud: You fall in love with films that spark something personal in you, that hit you in the gut, but if three others are exploring similar territory or originating from the same country, it simply might not fit the broader puzzle. From there, the real craft begins: building the programmes, tracing thematic threads and sculpting a narrative arc. You’re striving for a rich, balanced ecosystem, ensuring diversity in who is making the work, who is represented on screen and how forms are blended, from documentary and narrative to experimental and animation. Curation isn’t a science; it’s an art form in its own right. In an age of overwhelming content saturation, the role of the programmer has never felt more vital.

How does your set-up of the industry pitching sessions and meetings stand out, and what is it that Nordic and international professionals come to Malmö for?
Heidi Elise Christensen: Nordisk Panorama is intimate yet big enough to make your trip worthwhile. Our Forum still uses the “old” central pitch format, which we believe is one of the most effective ways to work. Everyone is in the same room, having the same conversation. Work in Progress then connects projects closer to completion with distributors, festivals and other potential partners.

But the real value is in the more than 800 one-to-one meetings, alongside closed screenings and informal formats. Because the event is relatively small, people actually have time to meet, talk and follow up. It means projects and films get genuine attention, rather than becoming one of hundreds in a crowded market. International professionals come to discover a concentrated selection of Nordic talent. Nordic filmmakers come to meet the people who can help their films or projects travel.

What are the topics that you are tackling this year in the talks and seminars?
HEC: One of our special focuses this year is how to get your film noticed in a market that doesn’t grow at the same rate as production, making the question of visibility more relevant every year.

In “How to Maximise Your Festival Premiere”, a publicist, an experienced producer and a festival programmer look at what filmmakers can do to make sure their short film doesn’t get lost in the crowd and what kind of professional support is available.

Furthermore, in “Campaigning Your Film All the Way to the Oscars”, producer Helle Faber and strategy and awards consultant Joanna Solecka share insights from their experience with Mr. Nobody Against Putin, following the film’s campaign leading up to its Oscar win.

We are also looking very directly at the market itself in “Would You Buy This?” Filmmakers show their short films on the spot, receiving live feedback from experienced international distributors and buyers, and get a sense of what they are looking for and how the market is developing.

For the bigger structural picture, at our popular “Town Hall”, we are focusing on the growing dilemma that producers face when trying to finance their films through very different funding systems, which entails a risk that their requirements influence which stories are told, how they are told and, ultimately, whose voices get heard.

What is your take on the discrepancy between the high number of produced films and the shrinking landscape of distribution and exhibition?
HEC: This is a real paradox, and even films recognised at festivals can disappear quickly afterwards. Nordic countries have support for distribution and audience access, but the traditional routes through cinemas, television and streaming are under increasing pressure, while digital platforms can be difficult to access.

The answer is not simply to make fewer films; instead, we need a healthier funnel – a broad talent base, stronger circulation mechanisms and more support for films that demonstrate international potential. This means protecting emerging voices and unconventional projects, while strengthening the middle layer – helping films without an obvious broadcaster or commercial distributor find alternative routes to audiences. For titles with genuine international potential, we should invest more strategically in distribution, promotion and festival strategy.

There is also an uncomfortable question about audiences. It is tempting to say that people want easily digestible content, but I think the better question is: have we become bad at getting audiences to choose challenging content? There is enormous competition for their attention, and algorithms reinforce familiar choices, rather than encouraging discovery. This makes curation a form of cultural infrastructure. Festivals, cinemas, broadcasters, film institutions and curated digital platforms can give audiences a reason to discover something new. We need to build audiences, not simply supply content.

The Nordics are well placed to lead here, with strong public institutions, public service media and an active independent film sector. We should continue to strengthen distribution and audience access as an essential part of film policy – and recognise that responsibility is shared across the entire film sector.