Swedish Film Industry Voices Concerns Over New Policy Amid Funding Shortfalls

Sweden's film industry is bracing for potential changes as the government gears up to unveil a new film policy ahead of the election. While the need for reform is widely acknowledged across the sector, uncertainty looms over whether the forthcoming proposal will meet the industry's hopes.

Eva Hamilton, chair of the industry organization Film & TV Producers, stated that the current film policy, implemented in 2017, was "substandard from the start" and is "severely underfunded." Sweden currently provides the lowest level of state film support per capita among Nordic countries, with 26 kronor per person annually, compared to Norway's 90 kronor and Denmark's 95 kronor. Furthermore, state funding for Swedish film production has not kept pace with inflation since 2016.

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The film policy we have today was substandard from the start. In addition, it is severely underfunded.

Manolo Diaz Rämö, co-chair of the Independent Filmmakers' Association, describes the situation as stagnation, noting that some members have abandoned filmmaking for other pursuits due to worsening financial conditions. He expressed particular concern for emerging filmmakers, fearing that the increased barriers to entry might make film seem like an "impossible career choice," with consequences that will become apparent in a decade.

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We are most worried about the new generation of filmmakers, that those who are new and unestablished see film as an impossible career choice. The threshold has become much higher. It might not be noticeable right now, but in ten, fifteen years, it will be.

Across the industry, there is a unified call for increased funding. The core argument emphasizes that Sweden, as a small country with a small language, requires robust public financial support to sustain a domestic film production. Hamilton pointed out that other European nations have recognized the need for state support to foster their own language productions amidst the near-monopoly of American cinema in the global moving image market.

Culture Minister Parisa Liljestrand has identified diversified funding as a priority. Film producer Lena Rehnberg, known for films like "Monica Z," has experience collaborating with private investors, suggesting a potential avenue for broader financial strategies.

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Given that there is almost an American monopoly on moving images, other European countries have concluded that if we want our own production in our language, we need to support it.