We’ll also compare these harder edged, genre-focused works to more international awards-friendly dramatic cinema by fellow Norwegian filmmaker, Joachim Trier.įrom revisionist takes on mythological beasts ( Trollhunter, top) to special-FX heavy disaster flicks ( The Wave, middle) to puzzling awards-bait ( Thelma, bottom), the cinema of Norway has it all. Øvredal has transitioned to bigger budgeted English-language productions for the most part since his native breakout ( Trollhunter, see below), while Uthaug’s next project is another high-concept, mid-budgeted genre film for Netflix ( Troll, sensing a pattern here?). Today’s spotlights include works by Norwegian filmmakers Roar Uthaug & André Øvredal, who’ve each contributed their auteur talents to Hollywood productions in the past decade with Tomb Raider (2018) and Scary Stories to Tell in the Dark (2019), respectively. What the Nordic film cultures lack in quantity, however, one could argue they compensate for in quality, as I do. Icelandic tundra features prominently in Christopher Nolan’s Batman Begins and Interstellar, as well as Game of Thrones the coming-of-age genre-blender, Hanna, includes Finland’s Lake Kitka), though due to the region’s small population (even combined, the Scandinavia peninsula plus nearby island states equals less than 30 million people), their film industries remain modest compared to the major studio output of Hollywood, Bollywood, South Indian Cinema, Japanese Cinema, Korean Cinema, etc. Iceland, Greenland) are home to identifiable Arctic landscapes showcased in numerous English-language cinema (e.g. the wealthy, highly developed Nordic countries of Norway, Sweden, Finland, and Denmark) and its greater island diaspora (e.g. The cold, iconic north of continental Europe (i.e. Stellan, Bill, Alexander, Gustaf, etc.), all of whom have long since matriculated into the Western filmmaking mainstream, I realized in the past month I had little exposure to Scandinavian cinema. The Seventh Seal, Wild Strawberries ), the cinematic adaptations of Stieg Larsson’s Millennium (2009) trilogy, Tomas Alfredson’s Let the Right One In (2008), to the prolific Skarsgard family (e.g. Outside of Swedish filmmaking, which consists of everything from the European New Wave works of Ingmar Bergman (e.g. Running Time: 104 minutes, 97 minutes, 105 minutes, 116 minutes || 1 = Trollhunter, 2 = Cold Prey, 3 = The Wave, 4 = Thelma Music by: Magnus Beite, Ola Fløttum || Cinematography: Hallvard Bræin, Daniel Voldheim, John Christian Rosenlund, Jakob Ihre || Edited by: Per-Erik Eriksen, Jon Endre Mork, Christian Siebenherz, Oliver Bugge Coutté || Country: Norway || Language: Norwegian Screenplay by: André Øvredal, Thomas Moldestad, John Kåre Raake, Harald Rosenløw-Egg, Joachim Trier, Eskil Vogt || Starring: Otto Jespersen, Hans Morten Hansen, Tomas Alf Larsen, Johanna Mørck, Knut Nærum, Robert Stoltenberg, Glenn Erland Tosterud, Ingrid Bolsø Berdal, Rolf Kristian Larsen, Viktoria Winge, Endre Martin Midtstigen, Tomas Alf Larson, Kristoffer Joner, Ane Dahl Torp, Jonas Hoff Oftebro, Edith Haagenrud-Sande, Fridtjov Såheim, Thomas Bo Larson, Eili Harboe, Kaya Wilkins, Henrik Rafaelsen, Ellen Dorrit Petersen Jacobsen, Sveinung Golimo, Martin Sundland, Magne Lyngner, Are Haeidenstorm , Thomas Robsahm Directed by: André Øvredal, Roar Uthaug, Joachim Trier || Produced by: John M.
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