The case in summary: • Director Gunhild Westhagen Magnor claims that the Norwegian Film Institute (NFI) prevents the production of war films with female lead roles by not providing enough funds.• Magnor believes that it is time for a female war hero on the screen, and that it is more difficult to get support because her film is about a woman.• She has applied for production funds from NFI three times for a film about Eva Kløvstad, Milorg’s only female district manager during World War II, but has been refused each time.• Terez Hollo-Klausen, department director for artistic assessment, development and audience at NFI, says that NFI has a constant focus on increasing the proportion of women in film both in front of and behind the camera, and that the proportion of women is on the right track.• Hollo-Klausen emphasizes that it is the project’s overall artistic quality and professionalism that determines whether it gets a grant, not the gender of the protagonist.• When asked if there is a place for women in war films, Hollo-Klausen replies: “Yes, absolutely. Art is free. We do not set any guidelines on what the films should be about. Or who is in front or behind the camera.” ————————————-The summary has been made of an AI service. The content is quality-checked by news’s journalists. “This can be really challenging, but I will take the fight,” says director Gunhild Magnor have made dozens of Norwegian war films in recent years. Most of them have in common that the hero is a man. For ten years, Magnor has worked to get a female war hero on the screen – but so far she has not received enough financial support are there stories about women that don’t come out? I think the answer is yes, says the director union leader This topic blew up earlier this week, after comedian Sigrid Bonde Tusvik railed against the recent war film “Nr. 24” Now more are raising their voices for the women who also fought for freedom. According to Magnor, the Norwegian Film Institute (NFI) is an obstacle for the war heroines. NFI is a public body that manages the state’s financial support for films and games. They provide grants for the development, production, launch and dissemination of films, series and games. Magnor claims that the NFI is putting sticks in the wheels of important stories, by not providing enough funds to be able to complete film projects about female war heroes. She is supported in this by Igor Devold, head of the Norwegian Film Directors’ Association. He also believes there should be room for more women in Norwegian war films, and that NFI can do more to make this happen. Gunhild believes that because her film is about a woman, it is more difficult to get support. Photo: Amund Rotbakken-Gundersen / news – It is quite obvious that women throughout all ages have made an enormous war effort. For example, during the Second World War, but also today, we see women’s efforts in Ukraine or in Gaza show that women are an important factor in a war, he says. Devold believes there are many good and new perspectives for the cinema screen here. Although he believes that NFI has done a lot to increase the proportion of women, especially behind and somewhat in front of the camera, he also believes that there is still a way to go: – Even though we have achieved around 50 per cent in the number of grants to women in total, our perception is that you are not up to 50 per cent when it comes to how much money the different sexes get, he says. Devold believes this is because female directors are awarded the same number of grants, but for projects with a lower budget. According to Devold, the association has received several feedbacks from female directors that they find the market system, where the big money is, challenging to reach. Leiv Igor Devold believes that NFI could have done more to increase the proportion of women in Norwegian film. Photo: Eirik Haldberg / Kosmorama The stories can be found On an idyllic small farm with a panoramic view of Mjøsa outside Hamar, Magnor lives with his family. Not far from there, Eva Kløvstad, the main character in Magnor’s story, was Milorg’s only female district leader, and directed several hundred Norwegian resistance fighters from Hedmarken in the last months of the war. – Women during the war is a completely untold topic, and still very relevant today. Eva was a female leader in a male-dominated society. A dramatic story, says Magnor. According to Magnor, a film about a female war hero will not be the same as one with a male one – but that is also the point. – Now it is time for us to see something else. – Isn’t it our turn? Ever since Magnor discovered the story of Kløvstad in 2014, she has worked to get it out to the people. Three times she has applied for production funds from NFI, but has been refused. Magnor has previously received support for the project from NFI, but not through this scheme. – It is not unusual for rejections, but now we have been working on this for 10 years and we now feel that we have reached a place where we have a really good script. And then we get yet another refusal from NFI. Be good, don’t stress, she says a little disappointed. – Why isn’t it our turn? So the women? Because it’s probably not just me who tries to make such films. Is there an error in the system? The impression one is left with is an expectation that war films with female war heroes should be the same as those with male ones, continues Magnor. Eva Kløvstad, together with hunters from Milorg’s district 25. Photo: Photo unknown Feel they have to apply for the smallest arrangement In order to get enough funds to complete the film project, Magnor is largely dependent on the production funds from NFI. Here, the filmmakers must apply for one of two schemes. Several of the films about male war heroes have gone through the marketing system. Here, a larger share of the budget must be guaranteed and the audience estimate must be higher than what we have received, she explains. – So thus far we have only had the opportunity to apply for the consultancy scheme. Here, the funds are not large enough to carry out an entire film project. – So you have to dare to believe that a film about a female resistance hero will do just as well as one about men, even if it will be different. Gunhild Westhagen Magnor believes the public is ready for a different war film. Photo: Amund Rotbakken-Gundersen / news – On the right track Terez Hollo-Klausen is department director for artistic assessment, development and the public at NFI. She says NFI has a constant focus on increasing the proportion of women in film both in front of and behind the camera. Hollo-Klausen speaks on a general basis – – We see that the proportion of women both in front of and behind the camera is on the right track, she says. – Despite the fact that there are many good people who develop good projects, many are rejected, Hollo-Klausen continues. Terez Hollo-Klausen believes that NFI is doing a lot to increase the proportion of women in Norwegian film, both in front of and behind the camera. Photo: Norwegian Film Institute – Would attract many people to the cinema According to her, it is the overall artistic quality and professionalism of the project that determines whether it receives a grant. About the film “No. 24”, about war hero Gunnar Sønsteby, Hollo-Klausen says that it received support in a grant scheme where the focus on high audience potential and high quality is emphasised. Magnor’s project has applied for another scheme where a film consultant makes a holistic assessment of the project’s artistic quality, and was not in competition with “Nr. 24”. – It was a strong film that will be able to attract many people to the cinema. That was the starting point for why it received a grant, says Hollo-Klausen. Claims there is room for women When asked if there is room for women in war films, Hollo-Klausen replies: – Yes, absolutely. Art is free. We do not set any guidelines on what the films should be about. Or who is in front or behind the camera. Published 07.11.2024, at 05.19
ttn-69