“There is something in the air they breathe up here – something about the resourcefulness and talent of the producers – which is really magical. Scandinavian filmmakers seem to get more out of less,” said director of acquisitions Peter van Steemburg, of US independent distributor Magnolia Pictures.

Currently attending New Nordic Films (August 19-22) at the Norwegian International Film Festival in Haugesund, he had already purchased the festival opener, Norwegian director Erik Skjoldbjærg’sPioneer [+lee también:
tráiler
ficha de la película](photo), after seeing a four-minute promo at the European Film Market in Berlin.

(El artículo continúa más abajo - Inf. publicitaria)

“Skjoldbjærg is possibly one of the finest directors working today, and Pioneer sort of epitomises what we from Magnolia Pictures like in Scandinavian films – it is a commercial thriller, but it stands out in many ways: the images, the performances from these actors,” he added.

“Scandinavian cinema has always been important in film history, but now you see movies which have this almost Hollywood aspect to them, telling stories which are so unique that you are pulled into a world you would not think was possible.”

The distribution arm of American cinema circuit, Landmark, with more than 200 screens, Magnolia Pictures caters for app 40 releases annually – the upcoming line-up also includes Danish directors Thomas Vinterberg’s The Hunt [+lee también:
crítica
tráiler
entrevista: Thomas Vinterberg
entrevista: Thomas Vinterberg
ficha de la película] and Lars von Trier’s Nymphomaniac [+lee también:
crítica
tráiler
entrevista: Louise Vesth
ficha de la película].

Von Trier’s Melancholia [+lee también:
crítica
tráiler
entrevista: Lars von Trier
ficha de la película]has so far been the company’s biggest Nordic success, which started on its Scandinavian trip when buying Danish director Nicolas Winding Refn’sPusher [+lee también:
tráiler
ficha de la película] trilogy (1996-2005), following up with his Bronson [+lee también:
tráiler
ficha de la película] (2008).

“If we pick up a martial arts movie, it has to be a little smarter than the average martial movie, and a horror feature should also be a family drama – Swedish director Tomas Alfredson’s Let the Right One In [+lee también:
crítica
tráiler
entrevista: John Nordling
entrevista: Tomas Alfredson
ficha de la película] (2008) is a perfect example,” van Steemburg concluded.