Solomamma, a Norwegian feature about a single mother who makes contact with her sperm donor, was one of the projects that stood out to attendees
Solomamma, a Norwegian feature about a single mother who makes contact with her sperm donor, was one of the projects that stood out to attendees at Les Arcs Film Festival’s Industry Village this week.
The film is the directorial debut of Paris-based Norwegian filmmaker Janicke Askevold and stars Lisa Loven Kongsli, who starred in Ruben Ostlund’s 2014 feature Force Majeure which filmed in Les Arcs. The Worst Person In The World star Herbet Nordrum co-stars. Solomamma is scheduled to finish its edit by the end of January before a hoped-for festival debut in the first half of 2025.
Rebekka Rognoy, Gary Crammer, Magnus Nygaard Albertsen and Magne Lyngner produce for Norway’s Bacon Pictures.
“Solomamma has the most impressive clips from the Works in Progress,” said one sales agent. “It made clear the key points of the setup, and the performances were very strong.”
Denis Krupnov, co-managing director of UK-based sales firm Reason8 Films, said the project “should be able to do well abroad, especially considering current interest in Norwegian cinema.”
The film won the €10,000 music award from French music rights firm 22D, as well as securing 42 meeting requests for just 14 slots – a record at this year’s event – from industry attendees including sales agents.
“The many great meetings in Les Arcs are opening up exciting opportunities for our project,” said Solomamma producer Rognoy. “This is a huge inspiration moving forward.”
There were several further projects to catch industry attention among the 39 presented at the Village.
“I loved the look of the Kosovan project Hatixhe And Shaban,” said one festival director, of Visar Morina’s film about a couple forced to move to the Kosovan capital to look for work. “Every sequence bristled with tension and unease,” said the executive, while adding that Solomamma “looked fun.”
Krupnov was impressed by Ivan Ostrochovsky’s The Spring in Works in Progress;, and a second sales agent praised Franziska Margarete Hoenisch’s Babette in the Co-production Village. “The team delivered an excellent presentation with all information needed, being very clear on the timeline, genre, and messaging of the film, along with a great visual deck.”
Cozy atmosphere
Organisers of Les Arcs Film Festival’s Industry Village said they are pleased with the event’s continued expansion, even as it poses logistical challenges for the alpine event.
Around 700 industry execs attended the festival this year, up from 650 last year, and 600 in 2022. “We know that what makes the market special is the cozy atmosphere, so we try to keep it that way,” said Lison Herve, Industry Village manager. “A lot of people want to come; we don’t want to say ‘no’, but we try to still have the possibility of everyone being able to meet everyone.”
The Village was the host of a series of networking events, including an Icelandic Film Centre dinner that saw market participants share fondue with festival heads, while Herve personally waved off coaches full of departing guests on Tuesday’s final day.
Les Arcs has managed its attendance rise through a budget raise, now up to €1.6m for the full festival. “Instead of looking at how much we have, and then organising, we say ‘we need this budget to organise the festival correctly’ – then we need to find that budget.” said Jeremy Zelnik, Les Arcs co-founder and head of professional events.
This strategy brought increased support this year from the Creative Europe Media programme, France’s CNC, and regional and city council funds. It also benefitted the festival when approaching private partners, with finances split 50/50 between private and public money. “It helps us go back to partners and say ‘the event is growing, so we need more money’,” says Zelnik of the increased public support.
An 11-person team works on the Industry Village in the weeks leading up to and during the event, with Zelnik and Herve proud of the multi-tasking abilities of their crew. They run both the feature film market strands including Works in Progress, Talent Village and Co-production Market; and music element that is central to the Industry Village.
This year’s festival included a concert by Icelandic composer Hogni at 2700m above sea level, and the first-ever Works in Progress award for music from 22D.
While still a key end-of-year gathering for the French industry, Les Arcs is becoming increasingly European. Zelnik highlights most of the key industry prizes were won by European producers from outside of France, including Floor van de Meulen’s Dutch project Happy Days.
“It is important that even if French people really want to come, we have a sufficient proportion of Europeans,” says Zelnik.
Les Arcs remains open to the public during the festival, attracting well-off tourists to the slopes – British royal Zara Tindall and her family were spotted in town this year. This popularity has led to the Industry Village balancing out across two levels of the resort, at 1950m and 2000m. Where 1950m was previously the main festival hub, now market screenings and industry talks also take place at the higher level.
“The market is becoming one of the most important in Europe,” said Elisa Fernanda Pirir, producer of works -in-progress title Arru. “We can meet sales agents and distributors on a more personal level without the stress. It is safe and professional.”
Director Thanasis Neofotistos presented debut feature The Boy With The Light Blue Eyes . “The organisation was great, the presentation of the projects was moving, the hospitality made us feel welcome and celebrated, and the place is majestic,” said Neofotistos.
“The festival and Industry Village offer a perfectly curated selection of films that have a high artistic quality but also have an audience potential,” said Katarina Tomkova, producer of Ostrochovsky’s The Spring. “The relaxed atmosphere and the size of the event is perfect to meet sales agents and distributors and discuss their line-up and strategies for the next year. I appreciate the festival’s attention to young talent and the next generation of filmmakers.”
The festival has confirmed its dates for next year, as December 13 to 20.
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