THE VIEW FROM... INDUSTRY
TRIED AND TRUE The country’s production houses include RVK Studios (right). Most of True Detective‘s fourth season was filmed in Iceland (below)
What gives Gunnlaugsdóttir hope for the future is that Icelandic cinema has a strong identity and is increasingly connected to the world. She argues Icelandic stories can travel and its filmmakers have shown that a small country can have a large presence. Dagfinnsson says that the local Icelandic production landscape is more challenging at the moment, as the government has not provided the Icelandic Film Centre with the funding required by law. “We are actively pushing for increased support to protect and strengthen Icelandic filmmaking. Despite these challenges, the industry remains resilient. Iceland has built a strong reputation internationally and we believe the future is bright as long as the necessary support is put in place.” Iceland has always punched above its weight creatively and has an exceptional tradition of storytelling. Dagfinnsson argues that, although there have been recent challenges, he is optimistic about the future. “Being the oldest storyteller in northern Europe with the Icelandic sagas, Iceland has world- class filmmaking talent and landscapes that continue to inspire filmmakers from every corner of the globe.” The biggest threat to the industry remains an issue the rest of the world is currently facing: people are going to the cinema less. “That is something I worry about,” says Tómasson. “Streaming services help the industry, but also keep the audience at home, so it’s a double- edged sword. On a positive note, I have felt that the industry is recovering and more news is coming about productions in the ‘start holes’ like we say in Icelandic. I’m also hopeful that the recent success of The Odyssey shows people that the cinematic experience is always special.” Tómasson stresses the importance of depicting Iceland on screen as it helps boost the tourism industry. “The government are starting to make that connection, but I’d like them to realise it more,” he says. “If it wasn’t for the reimbursements, we wouldn’t have big productions coming here.” Despite recent setbacks and industry woes, the future is bright for the Icelandic film industry. As they say, ‘enginn verður óbarinn biskup’ (nobody becomes an unbeaten bishop).
LOOKING AHEAD The Icelandic industry might be small, but it is also ambitious, outward-looking and experienced well beyond its size. The challenge is mainly maintaining continuity, growth and balance. International productions bring valuable experience, investment and visibility to Iceland, allowing local crews and companies to work at an international level and build relationships with global partners. “It is equally important that this growth strengthens Icelandic filmmaking as well,” says Gunnlaugsdóttir. “A healthy industry needs both incoming international production and a strong local creative ecosystem.” In terms of talent, many Icelandic filmmakers and crew members do work internationally, but Gunnlaugsdóttir sees that as a positive. “Icelandic crews often move between Iceland and other markets, bringing back experience, relationships and knowledge. The goal is to make Iceland a place where people can continue to return, create and build long-term careers.”
TOP OF THEIR GAME International productions such as Game of Thrones have sealed Iceland‘s reputation
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