We quickly start believing that we have the world's most creative film industry, the most visionary politicians, the smartest film institute – and the world's best Film Act! Nothing less will do.
"Sure we think we know how to make good films in Denmark. But we also, in all humility, think we can become much better at working with and learning from others."
But can Danish film keep doing so well? A favourite pastime of the Danish media is regularly proclaiming a crisis in Danish film. NOW the party is over! We're headed for a cliff. And so on. Then, in short order and with a sigh of relief, it is announced that NOW we have turned a corner, the self-proclaimed crisis has lifted. In the last four years alone, we have had at least four major crises and three new golden ages in Denmark.
Regardless of prophecies and proclamations, we at the Danish Film Institute – in partnership with politicians and the industry – work steadfastly, with a view to the long term, to create the best framework for unfurling creative talent. It is a framework that needs to be constantly challenged and developed.
Considering this year's Danish participation at Cannes and most of the other films treated in this magazine, one thing is plain: "Danishness" is not an island. Lars von Trier may have a fear of flying, but apart from that his orientation is as international as it is Danish. Nicolas Winding Refn's Drive is produced in Hollywood. Frederikke Aspöck, making her debut as a director with "Out of Bounds", went to film school in New York. Rúnar Rúnarsson, an Icelandic graduate of the National Film School of Denmark, shot "Volcano" on Iceland. "Room 304" was shot in the Czech Republic, "SuperClásico" in Argentina, "Teddy Bear" in Thailand, "The Ambassador" in the Central African Republic and so on.
Danish film and Danish filmmakers have moved onto the world stage in a big way. The strong artistic results achieved by Danish films are inspired by collaborations with artists and production environments in other countries. We realise this, and it is a trend that the film-policy framework should support and strengthen.
The wheels are already in motion. The new Film Policy Accord 2011-2014 has created even better opportunities for global partnerships. Plus, later this year the Danish Film Institute is setting up a new unit to strengthen international cooperation, in coproduction, cofinancing and development, and coordinate our overall international efforts.
Sure we think we know how to make good films in Denmark. But we also, in all humility, think we can become much better at working with and learning from others.