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 most common motive among the producers for the use of the English language in Nordic films has been the story; through either a character or a setting the presence of English language needs to be justifiable. Majority of the producers interviewed for this study find problematic the kind of Nordic films, where Nordic characters speak English in their local Nordic setting, as this feels unauthentic. In films by foreign production companies set in the Nordic countries, inclu

As part of my studies, my recent assignment was to put together an acquisition report to theatrically release the Japanese suspense thriller Creepy (2016) by Kiyoshi Kurosawa. Key issues to cover were marketing potential of the title, to identify the target audience for the film and to draft the key elements of the release. I found the assignment really motivating and also a great way to familiarise myself with some of the key elements of a release campaign. Acquisition Repor