This year’s edition of New Nordic Films, held during the Norwegian International Film Festival in Haugesund, featured a panel discussion titled “Around The World In 80’: The Distribution and Promotion of Nordic Films Internationally.” Hosted by Europa Distribution, the event focused on the international release of Fallen Leaves [+] by Finnish director Aki Kaurismäki. The panel brought together experienced film distributors Albert Yao of Swallow Wings Films (Taiwan), Anne Marte Nygaard from Arthaus (Norway), and Laura Čadek Plačková of Aerofilms (Czech Republic), with moderation by film consultant and producer Petri Kemppinen. The discussion highlighted how each distributor tailored their marketing strategies for local markets, providing valuable insights into the challenges and successes of Nordic cinema distribution worldwide.

Swallow Wings Films, a leading distributor of independent and arthouse films in Taiwan, has built a reputation for introducing European and arthouse cinema to an audience that primarily favours Hollywood blockbusters, Japanese animation, and Korean films. Albert Yao, Head of Acquisitions, highlighted the challenges of making Fallen Leaves resonate with a limited audience for European arthouse cinema. While Yao’s team usually acquires films after festival acclaim, they took a calculated gamble by securing Fallen Leaves prior to its Cannes debut. “At Berlin last year, everyone was saying it would be the best film from Aki Kaurismäki and a highlight in Cannes,” explained Yao, reflecting on the deliberate industry rumours that pressured their early acquisition.

To appeal to the niche arthouse market, Yao and his team prepared a multi-faceted traditional and digital media strategy, working with local critics, influencers, and more innovative partners. One of the key schemes Yao’s team implemented was collaboration with local book publishers, who focus on Finnish culture, and travel agencies, to align the film with Finnish tourism. This included promotional packages that paired cinema tickets with discounts on Finnish holidays, offering audiences a chance to “experience the world of Fallen Leaves in real life.” The premiere took place in the largest screening hall of Taiwan where Swallow Wings Films enhanced the event by designing photo stands. They organised give-aways of unique film posters along with collectable pre-sale tickets featuring limited-edition artwork inspired by Kaurismäki’s minimalist style.

Although the original film’s title was well-suited to the Nordic film audiences in Taiwan, a tagline, “There’s nothing that cannot be solved by watching movies. If there is, then watch twice,” was prominently displayed on marketing materials, aimed at drawing in Taiwanese cinephiles with the contemplative atmosphere of the film and encouraging them to return. However, the performance of Fallen Leaves was hindered by stiff competition from other high-profile films, such as Matteo Garrone’s Io Capitano [+] by and Alex Garland’s Civil War by, reaching 3,700 admissions. Yao acknowledged the challenges of competing with mainstream cinema but stressed that the experience offered valuable lessons in tailoring release strategies of Nordic films to Taiwan’s unique cultural and commercial dynamics​.

Anne Marte Nygaard, the Head of Distribution at Arthaus, shared a success story from Norway, where Fallen Leaves found a welcoming audience. Although Nygaard’s team, like Yao’s, took a strategic risk by acquiring the film before its official premiere, they decided to position it as a “Christmas release” set for 25 December 2023, a time when Norwegians traditionally flock to cinemas. Arthaus began building early momentum for the film by organising pre-screenings across multiple Norwegian cities and at key festivals such as Haugesund and Bergen International Film Festivals, ensuring that Fallen Leaves was on the radar well before its official release. Nygaard also noted that they advised cinemas to allow time for word-of-mouth to grow organically, stating, “We told the cinemas that it was more important to have a few good screenings over several weeks than to screen it every day for a short period, which is not ideal for a film like this”​.

Arthaus used a combination of traditional marketing and innovative changes to appeal to broad demographic groups. Instead of promoting Fallen Leaves as a typical Nordic drama, they presented it as a romantic comedy with a happy ending. “We wanted to distance it from the heavier Nordic drama label,” added Nygaard, which helped expand the film’s appeal to include younger viewers, particularly those in their twenties, who were beginning to show a greater interest in European cinema and Kaurismäki’s works. To tie it closer with the cultured and more mature Norwegian audience, they retitled the film to “Autumn Yellow Leaves”, drawing inspiration from a well-known jazz song from the 50’s performed by Nora Brockstedt. The decision to market the film as a light-hearted, accessible and recognisable piece resonated with both critics and audiences.

Nygaard also emphasised the importance of community engagement, particularly through creative cinema programming. One standout initiative was the “knitting cinema” concept, where audience members were encouraged to bring their knitting projects to watch the film in a relaxed and informal setting. This unique event, combined with a visit from Finnish actress Alma Pöysti, who plays the character of Ansa, helped foster a sense of connection around the film. Arthaus also designed matchboxes featuring stills from the film to fit the season and spread a heartwarming atmosphere. Through marketing strategies and events like these, Fallen Leaves enjoyed an extended run in Norwegian cinemas, ultimately reaching 18,000 admissions. Nygaard credited this success to both the strategic timing of the release and the ability to adapt marketing strategies to the specific tastes and habits of Norwegian audiences.

Laura Čadek Plačková, Marketing Specialist from Aerofilms in the Czech Republic took a different approach by rebranding Fallen Leaves to better align with audience sensibilities and capture the film’s melancholic yet hopeful tone. Renaming the film to “Karaoke Blues” was part of a broader effort to differentiate the film from other Nordic dramas, making it more accessible to a younger, more dynamic audience. “We wanted something that would fit the emotional tone of the film, so we combined the karaoke scenes with the bluesy, nostalgic vibe,” Plačková explained​. The film’s Czech premiere at the Karlovy Vary International Film Festival in July marked the beginning of an ambitious release campaign.

Plačková’s marketing strategy for Fallen Leaves was heavily focused on digital engagement, particularly through social media platforms. Recognising that younger audiences are less familiar with Kaurismäki’s body of work, Aerofilms created short-form video content and that emphasised the film’s humour, romance, and emotional depth. This included dynamic Instagram Reels designed to appeal to the short attention spans of younger viewers, making the film appear more fast-paced and accessible. The campaign also included a month-long Aki Kaurismäki retrospective at Bio Oko cinema, showcasing five of his classic films, including Shadows in Paradise (1986) and The Match Factory Girl (1990) to help build anticipation for Fallen Leaves while introducing Kaurismäki’s distinct style to a new audience.

Additionally, cultural partnerships were key to the success of Fallen Leaves in the Czech Republic. Supported by the Embassy of Finland and The Finnish Music Foundation, Aerofilms organised a live concert by Maustetytöt, the Finnish girl group from the film, which helped create a multi-sensory experience that drew attention on the film from a crowd of music lovers. Aerofilms’ comprehensive approach, blending trendy digital marketing with cultural collaborations and event-based promotions, led to over 13,000 admissions. Plačková attributed the film’s success to these efforts, which allowed Aerofilms to reintroduce the cult-classic filmmaker to a new generation while maintaining the film’s appeal to traditional cinephiles​. “It was important not only to bring people to see “Karaoke Blues”, but also to reintroduce them to Kaurismäki as a filmmaker,” she reflected, highlighting the significance of cultural rebranding in global film distribution.

In the final part of the discussion, moderator Petri Kemppinen guided the conversation towards the broader issue of audience engagement, particularly in the post-pandemic world, where attracting younger viewers to arthouse films has become increasingly challenging. The panellists collectively agreed that the future of arthouse cinema lies in its ability to adapt to new audience behaviours. Nygaard and Plačková expressed that while cinema-going habits have changed, younger viewers are open to discovering new filmmakers as long as the marketing speaks their language and meets them on platforms they frequently use. Yao echoed this sentiment, but acknowledged that the Taiwanese market remains challenging for arthouse films, as younger audiences still favour blockbuster titles.

The “Around The World In 80’” panel offered a comprehensive look into the complexities of distributing Nordic films in international markets. Through tailored strategies, such as rebranding films for local audiences, employing innovative marketing techniques, and organising community-driven events, distributors like Swallow Wings, Arthaus, and Aerofilms demonstrated the flexibility required to navigate the global cinema landscape. As the post-pandemic world continues to reshape cinema-going habits, these distributors highlighted the importance of staying attuned to cultural shifts and engaging audiences across generational divides.