The year 2009 was a less economically beneficial year for Danish Cinema, though there were fine productions such as Lars Von Trier’s Antichrist and Burma VJ by Anders Østergaard which received international critical acclaim. How can quality be balanced with box office success?

It is true that 2009 was a successful year for the Danish films internationally, but not domestically. I think the core reason for this was that the success that followed The Millennium Trilogy was attributed to Sweden, even if it was co-produced by Nordisk Film. So blame the Swedes! On the other hand, for Trust Nordisk, it was actually a profitable year. I can say, from my part, that the Danish Film Institute actively tries to support art-house films. So far there has been a major influence by the two Danish TV stations, TV 2 and DR, which have been dictating the way films were made, and, of course tailored for broadcasting

The Danish Film Institute actually proposed a new film policy for 2011-2014 named "Set Film Free". Could you elaborate on this?

Exactly, there has been a starting point of negotiations with the two TV stations in order to balance the ways films are made. We have formed a focus group (comprised by film stakeholders), hosting the "Ask and Listen" discussions. It is an opportunity to talk about what is missing in Danish cinema and how we can improve the artistic quality of our films. So far, in order a film to receive funding, it had to tick the boxes the television market required, but “Set Film Free” is all about freeing ourselves from those boxes.

Two Danish films competed at the 60th Berlinale: Submarino by Thomas Vinterberg and A Family, which just won the FIPRESCI prize, by former Silver Bear - winner Pernille Fischer Christensen. What in your opinion are the qualities that make these films stand out?

For me both films are exceptional family dramas, and I think the Berlinale is a festival that embraces those themes. This is their niche and they do it very well. Cannes, for example, is a more unpredictable festival, where you could have diverse range of films, often with a visual edge. UP that opened the festival last year was a fine surprise and 4 Months, 3 Weeks and 2 Days an extraordinary, yet ‘outcast’ film, won the Golden Palm in 2007. But, yes, in Denmark we produce these types of family stories that the Berlinale likes: think of Italia for Beginners (2000) by Lone Scherfig, Minor Mishaps (2002) and Little Soldier (2008), both by Annette K. Olesen. Also, it is important to mention that Vinterberg and Christensen have their own connection with this festival, as their older films where much cherished by the Berlinale. So it is also a matter of trust.

Thomas Vinterberg’s films were synonymous with the ‘Dogma95’ movement. Submarino draws away from those rules. Without questioning the film’s powerful appeal, would you say that Vinterberg’s approach to a more conventional type of cinema signifies a fear of risk taking, and in a sense, a form of creative recession? Or has the ‘Dogma’ trend long since expired?

I have to say that the ‘Dogma’ movement was something that defined Danish cinema. We are very proud of that era and the films that came out; however, I have to admit that we are sick and tired of it now. We are inspired by it, though not confined. I do have hope for Danish cinema and I do thing we have moved on. Of course, with Submarino, Vinterberg draws away from his ‘Dogma’ style, but, in fact, he abandoned it a long time ago.

Vinterberg’s co-writer Tobias Lindholm (Submarino) has also directed R, a prison feature selected in competition at the Rotterdam Film Festival last month. From his perspective, the film did follow some of the ‘Dogma’ rules. Do you feel that this production could inspire the return to simpler means in filmmaking?

Yes, I think that the ‘Dogma’ era can still inspire for its simplicity in filmmaking and the desire for the bare essential. For R, Tobias Lindholm was almost ready to sell his apartment in order to make this film. Thankfully, he did receive the funding! R is a special film, a prison drama that has a documentary feeling. The director chose a real prison in Denmark and cast real inmates that he trusted could act. It is a film that has similarities with Un Prophète, yet it has its own life. Also I think the collaboration between Tobias Lindholm and Michael Noer was a very creative one. They are both very talented and I am glad they’ve announced that they will try to work together every other year.

Monoculture and “creeping uniformity” in contemporary cinema has been a major issue for filmmakers and critics alike, as safety is now preferred rather than the risk of more unconventional productions. Do you think that Denmark has chosen to play the other side (the uncompromising one)? And how can the film industry overcome this plague of repetitiveness?

Yes, I believe so. We are definitely trying to allow this to happen by supporting new directors with a vision. Apart from the funding scheme for the more established directors, the DFI has also introduced the New Danish Screen talent development scheme. With this scheme, we are aiming to nurture new talent and support the making of more uncompromising projects of artistic merit.

Denmark also has the reputation of making quality short films. The Pig by Tivi Magnusson and Dorte Høgh was nominated for an Oscar in 2009 and there are four entries in competition at this year’s Berlinale. Do you think that the National Film School of Denmark has played a part in this success? What is your general view on contemporary film education?

Absolutely, the Danish Film School is one of the best films schools in the world, and obviously it is very hard to get in. It accepts only six students every other year. But that means that it can secure jobs for its graduates. Well, most of the time. In Denmark, we also passionately support youth and children films (25% of the subsidies in Danish films are allocated for films for the youth films). Still, there is a culture of accessible cinema, with our public libraries offering access to all sorts of short films and documentaries. It is also very important that we encourage the implementation of cinema as a school subject, by organising various workshops and courses. That is one reason, I think, why our children and family films are of high quality.

The themes of the exported Danish films are mostly social realist dramas, though there is also a lot of experimentation. Do you think that a large majority of Scandinavian countries share similar elements of experimentation? Let the Right One In, for example, could be considered a step forward for Swedish cinema. Are there comparable social changes that have possibly resulted into a similar approach of contemporary cinema?

Yes, Danish films do indeed have a tendency of focusing on social dramas and we do experiment, but I don’t think we are like the Swedish, for example. Swedes are very good in animation, new technologies and they also have a good reputation for short films. Let the Right One In is an exceptional film, I loved it! As for the social changes in Scandinavian countries, I can just say that, perhaps, not having enough resources makes us more creative. R was made for only one million, though, artistically, it is an impeccable film.

At last, what is your personal favourite Danish film/director, and what is your film choice from the Berlinale 2010?

I am obviously biased if I vote for Submarino. But honestly, when I watched it for the first time back in November, I couldn’t speak for half an hour after the screening. I found it so emotionally powerful and I loved the performances. Still, I have much hope for the creative duo of Tobias Lindholm and Michael Noer. On a more international scale, I admire Lone Scherfig. I really enjoyed An Education; it is exactly the film she wanted to make outside Denmark.

Eftihia Stefanidi