The Norwegian Film Institute supports documentary on Norway’s Oil Fund, three other documentaries.
A documentarist and financial journalist
An educated director from the Norwegian University of Science and Technology and Australia’s Queensland University of Technology, Frederik Horn Akselsen has directed several documentaries, including The Exorcist in the 21st Century (2012), about exorcism in the Catholic Church. For Vikings vs Wolves on Wall Street he has teamed up with scriptwriter Asle Skredderberget, a former financial journalist who has previously written a book about the Oil Fund.
Half of Norway`s pension capital
The fund, which is Norway’s most important financial security network, including half of the country’s pension capital, plays a crucial role both nationally and internationally. Highlighting major global issues and Norway's place in them, the film – produced by Rune H Trondsen for NordisStories – also shows how the values of community influence on the fund, asking whether finance is a blessing or a loss. The institute chipped in €156,000 (NOK 1.5 million) for the film.
War of Art
Norwegian director Tommy Gulliksen’s War of Art (which received €161,000/NOK 1.55 million state support) follows a group of artists with Morten Traavik travelling in the heart of Kim Jong-Un’s North Korea to find out whether it is possible to organise a cultural exchange with the totalitarian regime. Eirin Høgetveit is producing for Norsk Fjernsyn.
In Jozi Gold, Norwegian director Fredrik Gertten describes how former Jehovah's Witness Mariette Liefferink challenges the biggest companies in the South African gold industry, which employs 12 million people in areas which more radioactive than in Chernobyl: she wants them to clean up afterwards in the Anita Rehoff Larsen production for WG Film.
Return of a View
Norwegian director Eivind Tolås’ Return of a View follows a five-foot black-and-white drawing, New York Metamorphosis, which US artist made in his studio at the North Tower of the World Trade Center in New York back in 1997. Now it will return – to the museum at the footsteps of the then twin towers. Johnny Holmvåg’s production for Flimmer Film shows how.
“They are are top-class Norwegian documentaries, showing that Norwegian filmmakers not only to provide a unique insight and original perspective of our contemporary, but also master story-telling and know how to communicate with the audiences,” concluded film commissioner Lars Løge, of the Norwegian Film Institute, who recommended the state subsidy.