The Scandinavian creative scene is currently experiencing a dynamic period, marked by both significant artistic achievements and substantial industry challenges. This dichotomy was vividly captured at Sweden's Göteborg Film Festival, the region's largest film and television event, which recently concluded. While the festival celebrated a vibrant talent pool and a palpable sense of market optimism, it also addressed the profound disruptions impacting the global and Nordic film industries, exemplified by discussions around films like Itonje Søimer Guttormsen's “Butterfly,” starring Oscar-nominated Renate Reinsve.

Renate Reinsve, fresh from her Oscar nomination for Joachim Trier’s “Sentimental Value,” embodies a striking transformation in “Butterfly” as Lily, a performance artist. Director Itonje Søimer Guttormsen intentionally sought to diverge from Reinsve’s previous looks, crafting Lily as a character who actively challenges conventional beauty norms. Lily attempts to shed the male gaze and provoke reactions without attracting sexual attention, a fitting portrayal for someone exploited due to her beauty. The film, screened at Göteborg and IFFR, follows Lily’s reunion with her sister Diana (Helene Bjørneby) in the Canary Islands, prompted by their absent mother’s mysterious death.

The narrative of “Butterfly” delves into the arduous process of reconciling deep-seated hurt and pain stemming from past actions, particularly within the strained sisterly relationship forged by an unconventional upbringing. Reinsve emphasizes the constant effort required to overcome such emotional scars and find freedom through mutual understanding. The production experience itself was unique, blending elements of a fictional film with a documentary, partly due to the involvement of non-professional actors who shared genuine connections to the filming locations. This approach reflects Guttormsen’s admiration for filmmakers who boldly challenge established norms and embrace unconventional storytelling methods.

Guttormsen, who earned arthouse recognition with her previous feature “Gritt”—a polarizing character who cameos in “Butterfly”—is drawn to portraying “difficult women” who fight and strategize, often as a result of past wounds, neglect, or abuse. While Gritt is defined by her projects and ideals, Lily is characterized as quite selfish, constantly battling the world and possessing no desire to conform. Guttormsen describes “Butterfly” as her most accessible work to date, despite its relatable premise taking unexpected “off-piste” turns. She aims to attract a broader audience without compromising her artistic boldness and depth, a goal significantly aided by Reinsve's burgeoning star power, which she acknowledged as a “gift.”

Lily’s distinctive and often outrageous appearance in the film is not merely eccentric; it serves as a deliberate armor, a way to distinguish herself, even from her sister, and signal her non-belonging. Simultaneously, she exhibits chameleon-like qualities, adopting traits from those she encounters. Reinsve boldly embraced portraying Lily as worn-out and unhealthy, thoughtfully enhancing her looks to reflect the character's internal state. The film also explores the sisters' mother’s complex journey: an escape from feeling trapped that led her to neglect her children, ultimately establishing a healing retreat center for women in Gran Canaria, a place where, even after her death, her legacy of healing persists.

The Göteborg Film Festival itself served as a critical barometer for the Nordic film and TV industry. In 2026, the festival experienced a remarkable 50% increase in accredited industry and press participants compared to 2023, drawing 2,600 individuals, including 500 producers, 142 buyers, and 109 broadcast and streaming executives. This concentration solidifies Göteborg’s reputation as a vital hub for potential financing, even amidst a challenging industry climate.

Despite the vibrant atmosphere, industry discussions at Göteborg candidly addressed significant disruptions. Guy Bisson of Ampere Analysis, during a TV Drama Vision keynote, reported a global 25% decline in first-run TV commissions from peak levels. This trend was sharply mirrored in Scandinavia, where Nordic scripted series orders plunged from 129 in 2022 to just 57 in 2025, partly attributed to the implosion of Viaplay. Nordic public broadcasters also saw a steep reduction in commissions, with Norway’s Itonje Søimer Guttormsen lamenting that “So many people are leaving their jobs as filmmakers.”

Nevertheless, the market mood at Göteborg remained bullish, according to Josef Kullengård, the festival’s head of industry. He noted a strong sense of optimism and a shared commitment to moving forward, fueled by packed sessions and intense conversations. A significant driver of this hope was the festival's “talent parade,” which showcased an impressive range of Nordic talent, encompassing both established filmmakers like Milad Alami, Frida Kempff, Amanda Kernell, Erik Poppe, Dag Johan Haugerud, and Ruben Östlund, as well as an exciting new wave of creators in both series and films.

The festival highlighted a continuing demand for “premium plays” in content. The Scandi Alliance—comprising TV2 Norway, TV4 Sweden, and TV 2 Denmark—greenlit “Royal Blood,” a historical epic set between 1807-14. Dramanation’s Patrick Nebout and Henrik Jansson-Schweizer unveiled two decidedly premium TV series: the Nordic Noir actioner “Becker & Kempe” and the Cold War heist dramedy “Made in Sweden,” asserting that the market for compelling scripted entertainment has not vanished. Buzz titles included Alex Schulman's “Once In the Archipelago,” starring Gustaf Skarsgård and Fares Fares, and Eivind Landsvik’s “Low Expectations,” featuring musician Marie Ulven (Girl in Red). Ruben Östlund, ever the showman, generated considerable buzz with his presentation on his upcoming film, “The Entertainment System Is Down,” gleefully spoiling its plot to demonstrate his belief that curiosity about how a film is made is more engaging than plot secrecy.

Sales agents at Göteborg confirmed that genre content, in its broad spectrum, is a strong seller. Among the Nordic Film Market’s hottest titles were the family psychological thriller “Bloodsuckers” and the body horror film “Swine.” The festival also spotlighted promising emerging talents, notably Norway’s Rikke Gregersen, a Student Academy Award winner and Sundance-selected filmmaker. Her feature debut “Almost There,” acquired by Charades, and her project “Tiger” were significant talking points, acclaimed for their sharp humor and ability to craft relatable yet discomfiting scenarios.

Beyond traditional formats, industry discussions at Göteborg explored evolving media landscapes. Media analyst Johanna Koljonen, responsible for the yearly Nostradamus report, addressed a fundamental “core misunderstanding” within the industry regarding creator media, emphasizing that it transcends the outdated notion of “cat videos.” She urged creators operating with lower production costs to recognize the inherent freedom and opportunities on their side. Separately, vertical creator and showrunner Thom Woodley championed “microdramas” as episodic television, compressed and re-engineered for new platforms, predicting that traditional platforms like Disney and Netflix would soon experiment with this format, drawing parallels to the early evolution of television.

Koljonen also critically examined the industry's understanding of intellectual property (IP) and true audience engagement, asserting that insiders often “don’t know shit about what normal people are into.” She cited the immense popularity of “Warhammer 40,000,” a miniature wargame with a global following, and Henry Cavill's executive production of its Prime Video adaptation, as an example of phenomena overlooked by relying solely on