For years, Norway watched from the sidelines as its Nordic neighbors Sweden and Denmark produced hit after hit from acclaimed directors like Lars von Trier, Thomas Vinterberg, and Ruben Östlund. But after a long period in the shadows, Norway is now stepping into the international spotlight with a wave of distinctive, relationship-focused films and TV shows that critics are calling a Norwegian “golden age.”
Just in the past few months, several notable films have been released: Dag Johan Haugerud’s Dreams, the third part of his Oslo Stories Trilogy, which won the top prize at this year’s Berlin Film Festival; Joachim Trier’s Sentimental Value, awarded the Grand Prix at Cannes and following his Oscar-nominated The Worst Person in the World; Lilja Ingolfsdottir’s Loveable; and Armand, the directorial debut of Halfdan Ullmann Tøndel.
On the television side, the comedy-drama Pernille (known as Pørni in Norway) has gained a dedicated global audience since Netflix picked up the series about a single-parent family.
“We are in a golden age of Norwegian cinema,” said Ullmann Tøndel, who is currently writing his next film. “Especially in terms of recognition from major festivals and how Norwegian films are being received internationally.”
While Norway has always had talented filmmakers—including Trier and Haugerud—Ullmann Tøndel noted that, overall, Norwegian films have tended to play it safe. That’s changing with a younger generation, many of whom have formed a collective to encourage risk-taking and creative freedom. Other recent directorial debuts include Emilie Blichfeldt’s The Ugly Stepsister and Thea Hvistendahl’s Handling the Undead.
“What’s great is that we all have very different visual styles,” Ullmann Tøndel said. “That’s really important in Norwegian cinema. In Sweden, for example, everyone tried to make Ruben Östlund films for a while, and in Denmark, everyone tried to make Lars von Trier films. We really try to nurture our own uniqueness.”
A key figure in this new wave is actress Renate Reinsve, whose raw and expressive performances have drawn widespread praise. She appears in Armand and previously captivated audiences in The Worst Person in the World, navigating the complexities of modern relationships with humor and depth.
“She is so intuitive and smart, and goes very deep into her roles, but she does it with a lightness,” said Ullmann Tøndel. “She also has a great sense of humor and a remarkable understanding of what makes us human.”
Norway’s rise in the film world hasn’t gone unnoticed by its neighbors. Kristoffer Viita, a Swedish author and film critic, admitted, “It hurts to say because of our countries’ eternal rivalry, but Norway is light years ahead of Sweden in cultivating original cinematic voices.”
Viita noted that while Ullmann Tøndel’s grandfather—the legendary Swedish director Ingmar Bergman—was Swedish, he doubts the young director would have found the same creative freedom in Sweden, where the film industry tends to focus more on domestic audiences.Henriette Steenstrup, the writer and star of “Pernille,” said that as a Norwegian, she never expected the series to achieve international success due to its very specific portrayal of Norwegian society. Unlike Nordic noir, which tends to focus on crime and detectives, her show explores everyday themes like family and loss. “There is a lot of drama in everyday life,” she noted.
Although it is relatively easy to produce films in Norway thanks to consistent state funding and a steady stream of talent from free film schools, filmmakers are facing growing challenges in securing financing for their projects.
Hege Hauff Hvattum, a producer of the Oslo Stories Trilogy, pointed out that Norway is a hub of talent. Funding from the Norwegian Film Institute (NFI) has been effective in getting many projects made with Nordic support alone, but it hasn’t kept pace with rising costs. This raises concerns for the future, especially as streaming platforms are producing fewer dramas, films, and TV series than before.
Another issue is that streamers often aim to appeal to broader audiences, which can result in more generic content. Hauff Hvattum believes that telling honest and precise stories is easier when writing from a local perspective, as it captures nuances and makes the work more interesting.
Kjersti Mo, CEO of the NFI, attributes Norway’s success to long-term state investment—around 670 million NOK (£50 million) this year—and the professionalization of its film industry through international collaboration. The NFI supports independent filmmakers by structuring financing around theatrical releases and retaining their rights. “We have to empower our creatives and producers so they still have a choice,” Mo explained. “Streaming money matters, but we won’t let them dictate everything.” The NFI’s role, she said, is to strengthen the artistic side of filmmaking.
Contrary to a trend toward simplification, Mo observed that films chosen for their artistic quality are increasingly popular with audiences. “That makes me really happy,” she said. “We are building awareness so Norwegians take pride in their films and filmmakers.”
Mo acknowledged that Norway has traditionally been seen as the “little brother or sister” to Denmark and Sweden in film, but added that those countries are generally supportive and inspired by Norway’s progress.
However, Sarah Iben Almbjerg, film editor at the Danish newspaper Berlingske, believes it won’t be long before Danish film returns to the international spotlight. “Until then,” she remarked, “the Norwegians can enjoy their place in the sun.”
Frequently Asked Questions
Of course Here is a list of FAQs about Norways role in the current golden age of filmmaking designed to be clear and helpful for all levels of interest
General Beginner Questions
Q What is meant by a golden age for Norwegian film
A It refers to a recent period where Norwegian movies have gained exceptional international acclaim critical praise and popularity much like the successful run of Nordic TV shows
Q Why is Norwegian cinema getting so popular now
A A combination of unique storytelling stunning natural landscapes used as backdrops high production quality and the global success of Nordic Noir paving the way
Q Can you give me some examples of famous recent Norwegian films
A Absolutely Popular titles include The Worst Person in the World Thelma Troll and The Quake
Q I usually watch big Hollywood blockbusters How are Norwegian films different
A They often focus more on character development subtle emotions and realistic stories rather than huge special effects They also frequently explore themes of nature isolation and Nordic folklore
Q Where can I watch these Norwegian movies
A Many are available on major streaming services like Netflix Hulu and Amazon Prime You can also find them on specialty services like MUBI or Kanopy
Deeper Advanced Questions
Q Beyond scenery what specific themes are common in this new wave of Norwegian cinema
A Common themes include personal identity and existential crises complex family dynamics modern social issues and a deep sometimes dark connection to nature and ancient myths
Q How has government support influenced this success
A Norway has a strong system of public funding through the Norwegian Film Institute which provides grants to support original and diverse film projects from emerging and established directors reducing reliance on pure commercial appeal
Q Are there any specific Norwegian directors I should know about
A Yes Joachim Trier is a major name Other notable directors include Erik Poppe and André vredal
