Docu Rough Cut Boutique announces projects 

Docu Rough Cut Boutique announces projects selected for 2024 edition Docu Rough Cut Boutique reveals its new slate of projects, marking the 14th edition of the programme. 

Docu Rough Cut Boutique is the leading regional programme for documentaries in post-production coming from Southeast Europe and the Caucuses, famous for its boutique format of only five selected projects. 

Created by the Sarajevo Film Festival and Balkan Documentary Center, the programme is organized in three working modules: Sofia (March 2024), Cluj (June 2024) and Sarajevo (August 2024). The workshop programme is constructed with editing tutorials, group sessions and individual meetings with renowned documentary experts and professionals. The programme will culminate at the 30th Sarajevo Film Festival where five projects will be presented to the CineLink Industry Days decision makers (funders, sales agents, distributors, broadcasters, and festival programmers) with the aim of assisting their completion and enhancing their distribution and festival presentation possibilities. The programme is funded by Creative Europe MEDIA and Bulgarian National Film Center.

Statement from directors of Docu Rough Cut Boutique – Rada Sesic and Martichka Bozhilova: “This year’s submission showed us that new talent is emerging in our regional documentary scene. Interestingly, many applications arrived from Ukraine, submitted by committed filmmakers who sharply observe the harsh reality around them. 

In most applications it was beautiful to observe the maturity and thoughtfulness of the projects and the singular creative views of the authors. We thank all of them for considering Docu Rough Cut Boutique as the place they want to be. But like last year, we only have five openings. We want to salute the upcoming talents with their first or second projects, as well as the experienced makers who dare to challenge out-of-the-box cinematic thinking while tackling with topics that matter to all of us. After difficult selection, we are proud to say that the final five are apparent labour of love in which authors invested many years of meticulous work. 

During our three sessions (Sofia, Cluj and Sarajevo) within six months, we offer hands-on, tailor-made mentoring process and carefully prepared presentation during the Cine Link Industry Days at the Sarajevo Film Festival. 

We wish you all an exciting journey with our boutique cinema and we are looking forward to fruitful discussions, meetings, and presentations in Sofia, Cluj, and Sarajevo.” 

The selected projects are:
ELECTING MISS SANTA Director: Raisa Răzmeriță Producer: Ion Gnatiuc Editor: Alexandru Popescu Production Company: HaiDOC Productions (Republic of Moldova) Co-producer: Anamaria Antoci, Anda Ionescu – Tangaj Production (Romania)Country: Republic of Moldova, Romania 


KARTLI Directors: Tamar Kalandadze, Julien Pebrel Producer: Keto Kipiani Editor: Eka Tsotsoria Production Company: Sakdoc Film, Georgia Co-producer: Jean – Baptiste Bonnet (Habilis Productions, France)Country: Georgia, France 


SUPER PARADISE Director: Steve Krikris Producer: Paul Typlados, Dafni Kalafati, Steve Kriris Editor: Marios Kleftakis Production Company: Filmiki S.A Co-producer: Unafilm- Titus Kreyenberg (Germany) Country: Greece 


IN HELL WITH IVO Director: Kristina Nikolova Producer: Kristina Nikolova Editors: Anastas Petkov, Nina Altaparmakova Production Company: Lunaclipse media Country: Bulgaria 


DIVIA Director: Dmytro Hreshko Producers: Polina Herman, Glib Lukianets Executive Producer: Tasia Puhach Editor: Dmytro Hreshko Production Company: Gogol Film, UP UA Studio Country: Ukraine, Poland

Magnus Gertten: Cornelis Vreeswijk – Nogle går rundt i udtrådte sko

Magnus Gertten om sin film – foto: Hans Gedda

”I Sverige er Cornelis Vreeswijk et nationalklenodie, og selv om det nu er næsten 40 år siden, han døde, spilles hans sange stadig – til bryllupper og begravelser og på tværs af generationer. Alle har deres egne favoritsange, deres egen Cornelis. For mig har det spændende ved Cornelis altid været, at han så konsekvent gav en stemme til de mennesker, der befinder sig længst nede i samfundet – og det er her mit fokus ligger i filmen. Derfor også titlen, ”Nogle går rundt i udtrådte sko”, der også er titlen på en af Cornelis’ mest kendte sange (på svensk: ”Somliga går med trasiga skor”). Den er skrevet i slutningen af 60’erne og udgivet på et af hans bedste album, Tio vackra visor og Personliga Person.

I sangen har Cornelis en opfordring til os: Åbn øjnene og se, hvordan samfundet ser ud. Længst nede er dem, der er kommet på afveje og havnet i skidtet. De fattige, narkomanerne, alkoholikerne og de hjemløse. Dem, vi ikke ser til hverdag, og som vi ikke bryder os synderligt om.

Cornelis brød sig om dem. Gennem hele sit liv skrev han om dem, der befinder sig på samfundets bund. Cornelis så dem og følte samhørighed med dem – og i perioder af sit liv var han også en af dem. Han drak, tog stoffer, kom i fængsel, men det lykkedes ham altid at rejse sig igen og skrive nye, fantastiske sange.

Cornelis var visesangeren og poeten, som gav en stemme til dem, der ikke har én. Allerede fra starten af sin karriere skrev han med et perspektiv ”nedefra”. Og også hans allersidste plade, indspillet i efteråret 1987, mens han var dødssyg, handler om narkomanerne. ”Jeg vil give narkomanerne et ansigt”, siger han i et interview fra sygesengen på hospitalet.

Sverige var et hårdt klassesamfund på Cornelis’ tid, og i dag er det endnu værre. Under overfladen lever alle dem, der er slået ud af kurs, og samtidig taler vi mindre om disse mennesker i dag. Tiden er blevet mere moralsk, der er mere ”det er deres egen skyld” over tidsånden i dag. Med hjælp fra Cornelis stiller filmen spørgsmålet: Hvordan skal vi se på dem, der befinder sig længst nede i samfundshierarkiet? Skal vi bare vende blikket bort? Det er dette perspektiv, der gør, at Cornelis stadig er aktuel i dag. Hans sange taler lige så stærkt til os i dag, som dengang de kom ud.

Men der også en anden ting, jeg har været optaget af. Jeg tror, det er vigtigt, at vi nu og da kigger nærmere på vores ikoner og nationalhelte; undersøger, hvordan de har klaret tidens tand, og gør det med et både kærligt og kritisk blik. De fleste af os er enige om, at Cornelis’ sange er tidløse klassikere. Han er en af Sverige mest betydningsfulde sangskrivere nogensinde, på niveau med Bellman og Taube. En strålende poet, der optrådte med et unikt nærvær. Men samtidig er der ingen tvivl om, at Cornelis var en kompliceret person, som hele sit liv kæmpede med misbrugsproblemer, jalousi og en kaotisk livsstil. Hans syn på verden var præget af, at han var født i 1937. Alt dette har været vigtigt at skildre i filmen. Vi vil også vise de mindre stolte øjeblikke.

Vi har taget os god tid til at lave filmen, til at finkæmme arkiverne for hidtil upublicerede interview og arkivoptagelser, som ingen har set, siden de blev vist på TV tilbage i 1960’erne og 1970’erne. Blandt de vigtigste fund er en samling interviewoptagelser, lavet af journalisten Git Magnusson, som også var ven med Cornelis. Lydoptagelserne er lavet kort før Cornelis’ død i efteråret 1987, mens han er indlagt på Sophiahemmet i Stockholm og senere på Södersjukhuset. Magnusson gik med tanker om at skrive en biografi om Cornelis, og i deres samtaler kigger de tilbage på hans liv og karriere.

Vi har også brugt optagelserne fra en række researchinterview, som journalisten Oscar Hedlund lavede i forbindelse med sin bog om Cornelis. I de her private optagelser findes en intimitet og ærlighed, som sjældent opstår i mere officielle interview – en tone, som vi har efterstræbt gennem hele filmen. Ligesom vi også er lykkelige for mange af de filmede koncertøjeblikke, som vi har fundet i arkiverne hos de nordiske tv-stationer, for her får vi en fornemmelse af Cornelis, da han var på toppen af sin karriere.”

Andreas Koefoed: Bendtner

Dokumentarserie i samarbejde med Rune Skyum-Nielsen, som skrev den roste “Begge Sider” om og med Nicklas Bendtner.

Serien/filmen har tre dele, hver især 35-40 minutter: “Vejen tilbage”, “Sidste chance” og “Tilbage til Start”. Titler som alle henviser til Bendtners kamp for at få et dansk comeback hos FCK. Det lykkedes som bekendt for en kort periode… men det er den ydre kendte fortælling, hvor filmens fokus er at undersøge, sammen med hovedpersonen, hvad der gik galt – og godt – for et kæmpetalent, den bedste 9’er i min tid som træner for landsholdet, som Morten Olsen udtrykker det.

Barndommen… siger landsholdets daværende anfører Daniel Agger, og han bakkes mildest talt op af den ene after den anden. Nicklas blev kaldt fantastisk og vidunderlig fra han kunne sparke til en bold, og det var hans far Thomas, der kom med alle roserne. Faren har ikke ønsket at være med i filmen, men er måske alligevel den vigtigste person i historien. Han bliver agent for sin søn og bliver ved at sige “du er verdens bedste spiller”. Du hører farens stemme på de videoer, som filmen viser fra barndommen, drengen kunne alt og fik præmier i hobevis og faren roser ham vedholdende. Benny Nielsen, fhv. spiller fra min klub AB, siger det så indlysende, at det var en dårlig idé at have sin far som agent, det samme gør Bendtners mor. Far Thomas tilgav alt, det var forkert, siger Joan Bendtner, vi skulle bare have været mor og far for ham. Nicklas har ikke set sin far i 8 år, han svigtede mig, da vi lavede et smykkefirma sammen, siger han.

Liam Brady var den, som rekruterede Bendtner, som Head of the Arsenal Youth Academy, og han taler så varmt om det store talent, som kvajede sig gang på gang og ofte manglede motivation. Brady skaffede den 16-årige bolig hos en værtsfamilie det første par år – i en fin scene besøger Bendtner det ældre par i slutningen af filmen.

Men den mest interessante af de medvirkende er legendariske Arsène Wenger (Arsenals manager 1996-2018), som husker Bendtners talent og mangel på omtanke og disciplin. Jeg mistede min tro på ham, da han efter vi havde tabt til Barcelona på Camp Nou i 2010 og dermed var slået ud af Champion’s League, tog direkte på diskotek. Tja…

Wenger, ofte kaldt professoren, taler helt Jørgen Leth’sk på et tidspunkt, for topspilleren er “suffering needed and has to be associated with talent. For Nicklas the desire to suffer was more a problem than the talent”.

Filmen slugte jeg fra start til slut. Den er fint konstrueret med sine tilbageblik og nutidsinterview, og taber ikke den røde tråd; Koefods fascination af den charmerende flab, “Nicklas er Nicklas” som moren siger, er åbenbar, og – det må have været økonomisk svært at få dem – der er vidunderlige klip af fantastiske øjeblikke, hvor Bendtner stiger til vejrs og pander bolden i kassen. Ustyrlige Bendtner og hvem husker ikke hans to hovedstødsmål mod Italien i 2013! Filmen har klip fra flere Arsenal-kampe og still-billeder og det tjener til dens ære at den udelader al den sladder der har været og er omkring Bendtners privatliv og hurtigt får “overstået” skandalerne, som gav ham karantæner af kortere og længere varighed.

Et filmisk scoop er det at rejse med Bendtner tilbage til Arsenal og se den glæde, han er som en dreng, det er for ham at gense klubbens træningsfaciliteter, høre ham fortælle, at han rensede Robert Pires støvler – men ikke sine egne! – få ansatte og nuværende spillere til at ryste på hovedet, da han fortæller at han tænker på, og har uddannelsen, til at blive træner. Og det er fantastiske tyske Per Mertesacker, nu ansat i Arsenal, som nærmest får det sidste ord, ihvertfald stiller han spørgsmålet – “How do you reflect – you could have taken it further.”

Og det kunne han helt sikkert, men “sidste chance” gav ham og os uforglemmige billeder fra Parken, hvor jublen ingen ende ville tage, da Nicklas Bendtner kom på banen til de sidste kampe i 2019.

Tak for filmen! Kan ses på Viaplay.

Stanislavs Tokalov: Everything Will Be Alright

At the Latvian National Film Awards ceremony the other day two awards were given to “Everything Will Be Alright” by Stanislav Tokalov. The film-to-be was pitched at the Baltic Sea Docs 2021 with the working title “Stranded” and described as “An attempt to look at the life of a half-million Baltic Russian community in 2020, through the stories of 3 generations of women in the director’s family.” It was awarded as the Best Long Documentary and having Best Editing (Stefan Stabenow).

I had an email conversation with the producer Guntis Trekteris in April 2023, when the film was finished, I saw the film twice and ended up with these words – not a review but comments, edited email version:

“It is a good film, actually a very good film, well composed and the protagonists are fine with grandma and mother as the ones you engage in. And Raul of course, poor guy… he disappears towards the end, maybe that could have been explained, did they divorce? Maybe he could have been a bit more in the foreground, maybe a foreign audience would like to know, why he ended up in Latvia – USSR. Anyway, there is a rhythm, there are the returning new year celebrations, Raul’s difficulty to get the table into the room where they are to eat, Irina visiting Nina again and again, the teeth that disappear, the May 9 celebrations etc. There is a lot of fine and warm scenes.

International festivals – I am sure you try but it is difficult I guess as no-one wants anything connected to Russia as things stand. Has that changed I ask now – beginning of 2024?

So this was a good experience – watching the film twice, as I have done in many cases when in doubt: I guess at the first screening, I was irritated of the mother’s constant crying and frustration, some times hysterical, but I think Stanislavs has done a fine job to make the audience understand why.” 

Greetings to you and the director

Bobi Wine: The People’s President

Bobi Wine’s original name: Robert Kyagulanyi Ssentamu. Directors: Christopher Sharp and Moses Bwayo. Produced by National Geographic

This Oscar nominated documentary is a strong documentation of the suppression by the Ugandan dictatorship under President Museveni, who has been in power since 1986. All opposition is brutally knocked down by his police and military.

Documentation yes, but also a creative documentary where you follow the life of – during five years – Bobi Wine, who tries to change his country in a democratic direction. A true freedom fighter who has made his popularity as a pop singer, using lyrics to formulate protests against the regime. He enters the parliament, speaks against Museveni, when he makes a proposal to change the constitution so he as President can sit for another five years. Bobi and his opposition loses, when the proposal is voted upon, and the regime does all it can to keep Bobi Wine away from the public, who cheers him in big demonstrations. He is jailed, beaten up, as is many of his allies, he is moving around with crutches but decides to go to the US at a moment, where his life is in danger. Also to receive medical treatment.

He goes with his wife, wonderful Barbie, leaving the children at home, she goes home and he comes back only to be jailed again.

It is a film full of violent scenes balanced by moments that show the importance of the access the filmmakers have had to the home of Bobi and Barbie. In a great scene towards the end of the film, Bobi tells the children that they have to leave Uganda to live in the US for security reasons. It’s emotional and Bobi shows his charisma as he does, when he is out there with the supporting crowds. And when he does recordings in the studio of songs; one is of course called Freedom.

The film is built – apart from the tough reportage scenes from demonstrations in the streets – also through clips from different tv media and small reactions from Barbie, who in some cases are not allowed to have contact with her husband. But seems to support him from start till end of his fight for his people. A love story.

Virginia Eleuteri Serpieri:Amor

A woman’s face with running water in nature behind her. She looks at you or she does not look. Beautiful face, eyes seldom blinking. A river with waterfall and its sound. Focus on a rock and its cracks. A city emerges and disappears again. Cut to hands holding a postcard with…

… a voice that tells us that in 1998 “my mother” left our house and “we” never saw her again. Since then the daughter speaking, Virginia, the director of the film, has collected photos from the family album, prints of Roma, archive material, postcards with monuments, architectural and historical from the city; That if you read it from the back, Amor says Roma – always characterized as the city of Love. What comes to your mind, when you meet the word Roma, the voice the director asks and shows people in slow motion crossing a street.

Images show a diver getting ready to go down, we understand that the mother drowned in the Tiber. Virginia: I felt like a tree without roots. Two younger women are underwater – there are fragments of photos and other “things” on the bottom of the river, that evoke memories and there are super8mm footage that show Teresa in situations with friends and family in the countryside. This is a long poetic sequence with color – 8mm footage of people looking up to the sky, ending underwater again, and with the viewer being given the information that mother was born in 1943.

The film HAS found a complicated multi layered way of storytelling, which created a bit of confusion in my head at the beginning but once you get the point – I think I got – you are seduced by the flow (sorry!), of love to the photos of places and architecture that I remember, when I visited Amor… and take the tour on the back seat of the car that the director, Virginia, drives looking for the place in the river where Teresa, her mother, left. Very strong and intense, especially when it becomes a dialogue between daughter and mother, accompanied by the many photos of the mother, born 1943, dead 1998.

The text that helps the flow is excellent, and even more so is the music, composed by Lithuanian Martynas Bialobżeskis, magnificent!

I understand that this is a debut film… Bravo!

Italy & Lithuania, 2023, 101 mins.

Erica Liffredo: Tango of Life

Co-directed by Krista Burāne.

Italy and Latvia unite in this documentary shot in both countries, i.e. a co-production, a true one, where Italy provides the dancing, Latvia the music. A super-skilled editor is needed to connect and Ilaria de Laurentiis has done a great job to avoid “show-stoppers” to give the film a flow, from tango performed in Piemonte to music composed in Latvia. From Claudio and Ivana, to Arturs. And back again. Merging the scenes.

Claudio suffers from the Parkinson disease and performs tango as a therapy with his skilled wife. They organize therapy lessons in Cuneo, in a hall or at their place, where citizens with mobility problems come to dance. Many times to music composed by Arturs (Maskats), a well known and awarded Latvian composer, famous for his tango compositions. He has been inspired by the Italian couple, has visited them, they stay in contact through writing and in the film he goes down to get the inspiration to make a special piece for them. By cutting from the South to the North, with brilliant cinematography, the film describes the process of making the music to the tango – close-ups of the moving feet AND close-up of the two, Claudio and Ivana, showing their love to each other, beautiful it is to watch also of course, as we know, that Claudio, diagnosed 18 years ago, is living a life on borrowed time. One day he will be in a wheel chair.

Carried by the couple’s love to each other, their commitment to the dance – OMG, Ivana has sooo many tango shoes – showing that it is good for the body, and the engagement of Arturs to put down notes for his music, and of course the music itself, as it can be heard and seen in the Buenos Aires that Ivana longs to visit – it is a warm, well made documentary that deserves a good distribution internationally.

Ivana’s red tango dress is ready for the journey to Argentina but is Claudio with his health ready?

Italy/Latvia, 2024, 75 mins.

Max Kestner Opens CPH:DOX

We’re thrilled to announce that Max Kestner’s ‘Life and Other Problems‘ will be the opening film at the 21st edition of CPH:DOX. 

The opening gala will take place on March 12 in Copenhagen at the Conservatory’s Concert Hall, where director Max Kestner and a number of the film’s protagonists will be present. ‘Life and Other Problems‘ will have its world premiere during CPH:DOX, which runs from March 13-24, 2024.

In addition to being the festival’s opening film, it is also nominated for the festival’s main prize, DOX:AWARD – an award for the best and most important new films.
10 years ago, the news that Marius the giraffe was put down by the Copenhagen Zoo went viral all the way from Hollywood to Chechnya. But it was also the first domino to fall in the wild thicket of existential questions asked by Max Kestner in his new, joyously adventurous film. 

What is life? Does consciousness exist? Where does love come from? And not least: How is everything connected – like, really? With curiosity and an open mind, Kestner embarks on a philosophical voyage around the world to look for answers to his questions. With contributions from scientists like Charles Foster and Eske Willerslev, every answer sparks three new questions.

And yet, throughout the journey, we do gain insight into the great and small workings of the universe. What could have ended up as the most (self-)important picture of all time has instead turned into a funny, creative and completely unpredictable experience.

Stay tuned for February 21, when the entire festival programme will be revealed.

Raymond Depardon and Claudine Nougaret will receive the Honorary DocsBarcelona Award

The International Documentary Film Festival of Barcelona, DocsBarcelona, will pay tribute to the french filmmaking couple Raymond Depardon and Claudine Nougaret during its upcoming edition, which will take place from May 2 to May 12, 2024.

The award recognizes Depardon’s cinematographic and photographic career as well as the fruitful creative partnership with the producer, director and sound engineer Claudine Nougaret, which has created some of the most relevant documentary films in the history of European cinema.

Depardon and Nougaret’s extraordinary career will be acknowledged with an award that highlights their honest and authentic approach to people and landscapes from a seemingly shy and distant perspective that, at the same time, can turn into art the tension between photography and the temporal dimension of cinema.

Both artists will receive the prize during the DocsBarcelona’s 27th edition opening ceremony, which will take place on Thursday the 2nd of May at the spectacular Sala Phenomena, a cinema with one of the region’s largest screens and a capacity of 450 seats.

This celebration will continue, in collaboration with the Filmoteca de Catalunya, with a retrospective that will include three titles from their celebrated filmography, and will conclude with a talk session where both filmmakers will discuss their collaborative process, that has resulted in significant films such as 12 Jours (2017), Journal de France (2012) La Vie Moderne (2008), 10e Chambre, instants d’audience (2004), Paris (1998) and Délits Flagrants (1994), among others.

On the other hand, this year’s days and places are among this edition’s biggest novelties. The festival advances its usual days and will that place from May the 2nd to the 12th. And, for the first time, the films will be screening at two news locations: the Cinemes Renoir Floridablanca and the Centre de Cultura Contemporània de Barcelona (CCCB). This latter, as usual, will also host professional activities and sessions for all publics related to the non-fiction sector.

Historic Grand Slam for Norwegian cinema at Sundance

Historic Grand Slam for Norwegian cinema at Sundance: Awards for “A New Kind of Wilderness,” “Ibelin,” and “Handling the Undead.”The documentary film “A New Kind of Wilderness ” won the World Cinema Grand Jury Prize: Documentary, while “Ibelin” received The Directing Award and The Audience Award in the same section. The feature film “Handling the Undead” won Special Jury Award for Original Music in The World Cinema Dramatic Competition. This makes this year’s awards ceremony the best ever for Norwegian cinema at a major festival. The awards were presented in Park City, Utah, in a ceremony on Friday, with the Norwegian winners present in the auditorium. 

“It’s completely wild, we are so grateful and proud! That a close and personal film receives this recognition means everything,” says ” A New Kind of Wilderness ” director Silje Evensmo Jacobsen. 

 “This was absolutely fantastic! We would like to dedicate this award to Mats ‘Ibelin’ Steen. It will stand together with his picture at his parents Robert and Trude’s home. We hope the film will reach as many people as possible, and create discussions and inspiration all over the world. Such an award helps the future life of the film and increases the likelihood that it will be seen by more people. We are incredibly grateful and happy for this,” says Benjamin Ree, director of “Ibelin.” 

Golden Age for Norwegian Documentary Film 
“We’ve said it before, and we’ll say it again: Norwegian documentary film is in a golden age. The quality is world-class, and the fact that both “A New Kind of Wilderness ” and “Ibelin” won awards at Sundance is testament to this. Not only have they been carefully selected to the festival – they also took home three awards to Norway! We are incredibly proud of the teams behind the films and the directors Benjamin Ree and Silje Evensmo Jakobsen, and to composer Peter Raeburn for his work with the music for “Handling the Undead,” says Kjersti Mo, director of the Norwegian Film Institute. 

A New Kind of Wilderness 
The documentary film “A New Kind of Wilderness” by director Silje Evensmo Jacobsen takes place on a small farm surrounded by spruce forest where a family that has made an unconventional choice lives – Maria and Nik and their four children grow their own food, practice homeschooling, and co-sleep. They want to spend their time being together, living close to nature, becoming self-sufficient, and free. Maria, the mother of the family, is a photographer and documents the life project through words and pictures on the website wildandfree. But then tragedy strikes them, and the world they know is turned upside down. Reluctantly, the family must change their lifestyle and become part of modern society again. 

” A New Kind of Wilderness ” has received 1.7 million NOK in development and production grants from the Norwegian Film Institute. 

About the Double Winner “Ibelin”
“Ibelin” is about the gamer Mats Steen who died of a muscle disease at the age of 25. His parents mourned what they thought had been a lonely and isolated life, when they suddenly began to receive messages from Mats’ online friends from all over the world. The film recreates the rich life of Mats’ avatar “Ibelin” in the gaming world. Everything is based on real events and dialogues, taken from role-playing in World of Warcraft.
 
The documentary is directed by Benjamin Ree, whose previous film “The Painter and the Thief” in 2020 was the first Norwegian-registered documentary film in the main competition at Sundance. There, Ree won the Special Jury Award for Creative Storytelling. For the 2024 festival, Ree’s new film “Ibelin” was invited to be shown at the traditional cinema The Egyptian on the opening day and has now won two awards. 
The film is produced by Ingvil Giske for Medieoperatørene and will have its Norwegian premiere in March 2024. It has received 4.2 million NOK in development and production grants from the Norwegian Film Institute…

Excerpt from press release of Norwegian Film Institute.