In this insightful interview, we sit down with Josef Kullengård, the Head of Industry at the Goteborg Film Festival. Josef, who has been with the festival since 2016 and took on his current role in October 2022, shares his experiences and insights about managing one of the most significant film markets in Northern Europe. He discusses the unique aspects of the Goteborg Film Festival, its strategic position as a gateway to Nordic cinema, and the challenges and innovations that come with running an industry-leading event. From the selection process for films to the impact of politics and the role of digital infrastructure post-COVID, Josef provides a comprehensive overview of what makes the Goteborg Film Festival a standout event in the global film industry.
Amir Ganjavie, UniversalCinema Magazine (UM): Please introduce yourself and tell me about your role in the organization.
Josef Kullengård (JK): My name is Josef Kullengård. I’m the Head of Industry at the Goteborg Film Festival. I’ve been working at the festival since 2016, initially as an industry producer. I took on the role of Head of Industry in October 2022. My role is to lead and oversee all industry activities and programs at the festival, including the Nordic Film Market, TV Drama Vision, the annual Nostradamus Report, Film Forum Sweden, and the Nordic Film Lab, our annual talent lab.
(UM): What makes your festival’s market different from other festivals?
(JK): We have positioned ourselves as a gateway to the Nordics for the European and international industry. In a time where the industry has less time to attend multiple markets, our festival offers a convenient way to cover an entire region at once. We carefully curate the projects we present, focusing on films and series in development and works-in-progress. Our strong work-in-progress lineup and strategic positioning attract a lot of attention from art-house films. Additionally, our TV Drama Vision conference and the annual Nostradamus Report provide a forward-looking perspective on industry trends, financing shifts, and sustainability.
(UM): I have been to Goteborg once, and it’s a small city, but your festival is very big. It’s a 10-day festival with around 200 movies. How significant is the market, and how many days does it take place?
(JK): In the latest edition, we had 2200 accredited attendees from 52 countries. Our market includes the TV Drama Vision conference and the Nordic Film Market. TV Drama Vision takes place over 2 days, followed by the Nordic Film Market, which runs for 3 days. We present about 110 series and films at different production stages, most of which are looking for financing, sales agents, and co-production collaborations. We also have many other industry-targeted activities, such as the Nordic Film Lab and the Nostradamus seminars.
(UM): Do you provide opportunities for filmmakers or producers to find co-partners? How does that work?
(JK): Yes, we have a call for projects for Discovery, our co-production platform at the Nordic Film Market. For TV Drama Vision, we collaborate with other European markets to facilitate the circulation of projects and enable partnerships. We have annual collaborations with markets like CineLink in Sarajevo and Conecta Fiction in Spain.
(UM): Is your market global, or do you focus on specific regions?
(JK): For the film market, we focus on the five Nordic countries, attracting many people who want to see what’s next from the Nordics. TV Drama Vision has a European perspective with some international projects, usually covering around 12 countries each year.
(UM): Can you share a successful story from your market?
(JK): A recent success on the TV side is the Spanish series “This is Not Sweden,” which presented itself in development at TV Drama Vision in 2021. They secured financing from the Nordics and a Swedish co-production partner and have since premiered successfully in several European territories. On the film side, we had three Nordic films in the Cannes program this year that were part of our work-in-progress lineup: “Armand,” “When the Light Breaks,” and “The Girl With the Needle.”
(UM): Do you have quotas for selecting movies, or do you focus on quality?
(JK): We try to balance both. For TV Drama Vision, we select projects with international potential. For the film market, we prioritize culturally and artistically interesting projects, often leaning towards art-house films but also including genre-influenced titles. We aim for a diverse and high-quality selection.
(UM): Do you have gender or diversity quotas?
(JK): We have a 50-50 gender ambition and strive for a good balance overall. While we don’t have specific quotas for broader diversity, we maintain a perspective of presenting artistically interesting and impactful stories, which naturally brings diverse perspectives.
(UM): How is the infrastructure for your festival? Do you face challenges with venues?
(JK): We made significant improvements last year with the introduction of our new festival center at Hotel Draken, which includes a cinema and great conference facilities. This new infrastructure makes it very convenient for industry participants. Gothenburg also has an excellent set of diverse cinemas, which is crucial for the festival’s success.
(UM): How do government changes affect the festival?
(JK): The festival is an independent non-profit organization. However, the government oversees Sweden’s audiovisual sector, including key institutions like the Swedish Film Institute. There are ongoing evaluations and potential policy shifts that could impact funding and support. At the same time, Sweden has a regional film policy, with Western Sweden, the region in which Gothenburg is located, hosting one of Europe’s largest regional film funds, Film i Väst. Overall, the festival of course remain attentive to any policy changes, and always advocate for a strong audiovisual landscape and the funding of art-house films.
(UM): How do you handle the job insecurity in the festival industry?
(JK): Like many festivals, we struggle with maintaining year-round employees. We have a strong core team, but many positions are seasonal. We offer opportunities for those interested in the industry to gain experience and connections. Despite the challenges, we strive to provide a platform for growth and learning.
(UM): How does the funding structure shape your market?
(JK): Our funding comes from public support, regional funds, and the Nordic Film and TV Fund. We prioritize projects based on industry needs and potential, rather than specific funding criteria. We also have support from Creative Europe MEDIA.
(UM): How did COVID and online events impact your festival?
(JK): We transitioned to a digital format during the pandemic, with one fully digital edition and one hybrid. We continue to offer a robust online program, using digital infrastructure as a tool to complement physical participation. The digital shift has allowed us to maintain engagement and accessibility.
(UM): What is your vision for the future of the market?
(JK): We aim to be a platform for educating and developing the industry amidst systemic changes. Our focus is on being present and forward-looking, providing valuable insights and opportunities for industry participants. We will continue to be a gateway to Northern Europe, offering a comprehensive overview of the region’s best projects and industry trends.
(UM): Is there anything else you think might be interesting for our audience?
(JK): I would like to highlight the Nostradamus Report, a project we’ve been doing for a decade. It aims to forecast the next 3 to 5 years in the audiovisual industry through research and expert interviews. The 11th report will be released on Monday, May 20th, and we’ll also have a follow-up podcast episode with the European Film Market’s Industry Insight Podcast.
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