Original language dramas are in several markets automatically labelled as ‘art house’ films (Ilievski, 2018). Petri Kemppinen, the CEO of the Nordisk Film & TV Fond, believes that in many cases this can be an advantage for the film. Whereas arthouse cinema by definition speaks to a dedicated niche audience that can be more easily reached, entering the mainstream market brings new challenges; ‘When moving to produce in English language, the competition is different; the film n

The internationalisation of European cinema has also attracted negative associations, with critics branding certain multi-national films as ‘Euro-pudding’ (Liz, 2014). The term emerged in 1989 and among many other titles, has been used to refer to films like Vincent and Theo (Robert Altman, Netherlands/UK/France/Italy/Germany, 1990), a film about the life of Vincent van Gogh, and The House of Spirits (Bille August, Portugal/Germany/Denmark/USA, 1993), adaptation of the Isabel

The increase of foreign language, internationally oriented productions applying state subsidies has led to the local film institutions to consider their involvement in supporting them. There seems to be a shift in the attitudes within the local institutions, especially Danish, to demand a more significant local cultural presence in the films they grant support for. Claus Ladegaard, the CEO of the Danish Film Institution explains that moving forward, the institute will only su