Nordic animation makers need to embrace “compassion, equality and inclusion,” Kool Produktion’s Frank Mosvold told Variety.
“As a gay producer, I’m alarmed by the growing negative attitude and harmful portrayals of the queer and trans communities in Europe, which is why I am developing ‘The Legend of Magnus the Good,’” he added, teasing the animated feature about “acceptance, regardless of gender and identity.”
In the film, Magnus’ father is the famous Viking king Olaf. When his uncle decides to steal the crown, the boy has to flee. He travels in time, landing in the middle of a drag show in Norway.
“It’s important to make something that’s important to you,” Mosvold said later, during FFA’s panel Nordic Animation: How to Make New Classics. A son of a “very successful businessman,” he also had to deal with high expectations.
“With [previous animation] ‘Ella Bella Bingo,’ it was all about the little girl inside of me, finally coming out. Don’t worry about making a ‘classic.’ Just make it personal.”
Even if it means alienating some viewers – especially in the U.S.
“In the U.S., they toned down the fact that, excuse my language, Niko is the fruit of a one-night stand between a ‘normal’ reindeer and one of Santa’s reindeers. We had some harsh reviews in more religious publications. American reaction [to the film] was the weirdest,” said Jørgen Lerdam, co-director of “Niko 2 – Little Brother, Big Trouble.”
Now, the little reindeer is ready for its third adventure in “Niko – Beyond the Northern Lights.”
Even the Moomins, Finland’s most beloved characters, created by writer Tove Jansson, aroused some suspicion.
“Niko – Beyond the Northern Lights”
Courtesy of Anima Vitae
“Everyone wonders what’s the real relationship between Moomintroll and Snufkin. Why does Hemulen wear gowns? Who’s Little My’s mother?,” revealed Gutsy Animations’ Marika Makaroff behind “Moominvalley.”
“There is more provocative content made by Nordic companies,” underlined Liisa Vähäkylä, who moderated the event, also praising the unique vision of Swedish director Niki Lindroth von Bahr.
But while Nordic creators continue to embrace risqué content, also in “Spermageddon” – “The funniest sex-education film I’ve ever seen. It could not have been made anywhere but in the Nordics,” said Mosvold – they want to express serious emotions.
“If you look at Hans Christian Andersen, these are very, very sad tales. But we grew up on them. Kids can handle the sadness,” noted Iceland’s Haukur Sigurjónsson, opening up about “Ploey,” about a curious golden plover, now earning a sequel.
“We got this feedback from distributors: ‘How many birds are you going to kill?!’ Kids like drama. It doesn’t have to be just fun and games.”
Makaroff agreed: “In ‘Moominvalley,’ we had this moment when a little squirrel dies because of The Lady of the Cold. Sky was reluctant, but it became our most award-winning episode. Children don’t shy away from difficult topics. If we are not brave enough to embrace our Nordic roots and tell these stories, it’s on us.”
She told Variety: “To me, Nordic animation means exceptional production quality, deep passion and commitment to projects, reliable delivery and foundation that’s rooted in Nordic values.”
Praising Anima Vitae’s work with “Niko,” she also singled out Helsinki-based Gigglebug and Norway’s Mikrofilm. “They already won an Oscar for [2006 short animated film] ‘The Danish Poet.’ I would love to see more Oscar-winning productions coming from the Nordics!”
Still, the lack of funding is, predictably, challenging.
“Nordic animated features have a global reach that live-action films can only dream about and yet I feel that sometimes animation is seen as second-class. It’s most prevalent in Sweden, which used to be a powerhouse of global family entertainment. Now, their productions are just a shadow of their former self,” said Mosvold.
“Over the years, Nordic animation producers have been able to produce animation very cost efficiently, additional public funding would be able to bring Nordic animation up to the next level. We are ready!”
Creators must explore “innovative strategies” to fund their projects, stressed Makaroff.
“Given the current constraints on financing, and commissioners being risk-averse, it’s essential that we identify IPs capable of attracting broad audiences. We have to have more confidence in Nordic stories and IPs, recognizing their global potential.”
