Based on the book of the same name, The Flatey Enigma is an Icelandic mystery drama about Johanna (Lara Johanna Jonsdottir, Sense8), a mother who returns to home to bury her father.
After the funeral, she picks up his research into an ancient manuscript that posits a riddle pointing to the resting place of a Viking lord. She then continues his work to solve the puzzle, as police arrive on the island following the murder of someone else who was interested in the riddle.
In this DQTV interview, executive producer Kjartan Thor Thordarson introduces the series and talks about how it offers a viewers a slower pace and alternative visual style to other Scandinavian noir series.
The Flatey Enigma is produced by Sagafilm and Reykjavik Films for Icelandic public broadcaster RUV. Sky Vision is the distributor.
Poldark’s Heida Reed takes centre stage in Stella Blómkvist, a super-stylised Icelandic drama that is set to add a new dimension to Nordic noir. DQ chats to the actor and the key players behind the series.
When it comes to Nordic noir, there are certain traits viewers have come to expect. Moody visuals are often set against dark, foreboding landscapes, creating a style that has become synonymous with Scandinavian crime dramas like Wallander, Forbrydelsen (The Killing), Trapped and Bron/Broen (The Bridge).
But a forthcoming Icelandic drama starring Poldark’s Heida Reed looks set to breathe new life into the genre with a radical, heightened and heavily stylised look that marks it out from anything that has come before. Imagine Sin City or Marvel’s Jessica Jones filmed in Reykjavík.
Stella Blómkvist follows the exploits of the titular lawyer across three feature-length instalments – The Murder at the Ministry, The Murder at Swan Lake and The Murder at Harpa. The first film sees Stella hired to defend a low-life thug accused of murder, but she soon finds herself plunged into a violent political conspiracy that threatens Iceland’s very future.
“This is not another Scandi noir,” says director Óskar Thór Axelsson (Black’s Game, Trapped). “I like to call it ‘neo-noir.’ It’s more playful and is set in a parallel world. We’re not trying to be super naturalistic, as you would be in Scandi noir. It’s more stylised and we’re trying to have fun with it.”
Lead writer Jóhann Ævar Grímsson adds: “With the noir thing, I’ve been wary of the word because it’s being used for almost anything Scandinavian these days. Political drama Borgen has been called Scandi noir when it’s just Scandi. We are not following the Scandi noir rules, we’re going back to the roots of noir.
“We’ve got an unreliable narrator, voiceovers, flashbacks, harsh lighting and all the trappings of the noir format. It goes against the typical Scandi noir format – when there’s so much of it, you want to go in a new direction.”
The show is based on a character created by a mysterious, anonymous author, who shares the same pen name as the lead character. The first episode is based on book one in the series, with two new stories completing the trio. The project has been developed by producer Sagafilm for two-and-a-half years, with Simínn (Iceland Telecom) and Scandi SVoD platform Viaplay on board as broadcasters. Red Arrow International is distributing the series.
From the outset, the creative team sought to replicate the Sherlock format of three feature-length episodes, as opposed to one 10-episode story, for example, in another bid to shake up the Nordic noir format.
“I’ve been writing a crime series in Iceland called Pressa [The Press] and experimented with the format there, but with that show we mostly focus on longer stories,” Grímsson says. “I thought it would be more fun to have shorter bursts of stories. We’re mimicking Sherlock, a show we really like. It’s a perfect vehicle for it.”
Working together in a small writers room, Grímsson, Nanna Kristín Magnúsdóttir and Andri Óttarsson stripped down the first Blómkvist book, threw out what they didn’t need and filled in the rest. Series director Axelsson was also a regular presence in
“Stella is almost all of the things you don’t want to see in female characters – she’s crass, rude, cold-hearted, inconsiderate,” Grímsson explains of the title character. “She’s sexually promiscuous, drinks and does whatever she pleases. It’s a fun character to work on.”
Axelsson picks up: “She’s a detective and a femme fatale, so she’s a super-interesting character. We had some discussion about the tone and where to place it early on, and that was something I really liked.
“Creating the look for Stella was more in the lighting, the production design and the acting. We definitely go for more intense angles than you would go for normally because it’s a noir. Some scenes we would design to be energetic, so I knew I had to speed up or shoot it in a particular way. But it’s a mixed bag – all three shows are very different. They look very different.
“It definitely has the Scandi noir elements in there but they’re pushed into a different angle. It will be more playful, it has more of a sense of humour. It doesn’t take itself too seriously. It also takes an interesting look at Reykjavík. We’re changing the scenery a little bit in the series.”
The director, who is currently filming episodes for the second season of fellow Icelandic drama Trapped, says Stella’s character influenced the way he shot the series. “Stella’s bisexual, she’s very opinionated and she’s constantly tricking people; she can put on a mask,” he explains. “That was something I was definitely trying to play with. Because Stella has so many faces, Heida maintained that she should not change her costume a lot and she should look the same, as that helps us identify with her because she’s always pretending.”
The casting process was a drawn-out affair as the creative team sought to find the perfect actor to fill the role, eventually securing Reed, who is back in period costume to shoot season four of BBC period drama Poldark.
“Heida had something we’d seen in the character in the books,” Axelsson says. “She’s really carrying the series – she’s in almost every scene. Hiring a young actor who doesn’t have much experience could have been suicide for us, but Heida coming off three seasons of Poldark and having that experience was a huge bonus.”
“Stella is the series,” says Sagafilm Nordic CEO Kjartan Thor Thordarson. “It was a very important piece of the puzzle to get Stella right. We did test a lot of actresses – we wanted to see who would catch Stella and her tone, looks and demeanour. She’s a very tough woman but she also has her vulnerable sides. Heida basically nailed her.”
With more than 90 speaking roles, rehearsal time was at a premium, with Axelsson admitting the 48-day shoot was shorter than he would have liked. This meant the director, working with a script that contained flashbacks and one-line scenes, had to prioritise which would be afforded the most time.
Production was complicated further by the lack of darkness in Iceland during the late-spring and summer months when filming took place. “It’s a noir so it has to have a lot of darkness, but we started shooting in early April, which meant we had a month to shoot night scenes,” Axelsson says.
“In mid-May, we’re almost into 24-hour daylight, so we had to do all the night scenes first. We started really front-heavy with that. It was a night shoot throughout April and the days gradually got longer. In May, we might still have had a night scene to do, so our schedule would be midday to midnight and we’d try to get this one night scene at the end that we’d missed.
“That was difficult, and in grading now we’re trying to match stuff we shot in June to what we got in April when it was snowing. We were really unlucky with the weather. It was a really tough shoot, actually.”
For Sagafilm, the project was born out of a desire to create an Icelandic series that could be marketed around the world. Stella Blómkvist fitted the bill, as the novels are already known across Europe and would draw the kind of production partners – and budget – needed to turn the property into a global franchise. The decision to make the series available in three 90-minute episodes or six 45-minute versions was also taken to maximise international appeal.
At €3m (US$3.6m), the show’s budget is double the standard cost of an Icelandic drama, but this was “part of the plan to up the game and we can see it in the series,” says Thordarson. “There’s a lot of different things we haven’t seen before from smaller-budget series. We tried to make it look like a €10m series.
“It’s definitely not like other things in Scandinavia. I just think we’re competing with ourselves, trying to do better every time. We don’t really want to follow what others are doing; we want to be our own voice – that’s what we’re trying to do and I think we did that with [crime drama] Case, our last series. That was unique in the market. In many ways, we played with the filmmaking aspect a little bit there and we are continuing to do that with Stella. It’s very unlike Case. So I think that will continue.”
Another appeal of making Stella Blómkvist was the potential to create a long-running franchise. Thordarson adds: “We have at least eight books and they’re still being published, so who knows how many there will be in the end. We have already started looking into what’s next in the Stella saga.”
Heida’s Stella performance As Elizabeth Warleggan in BBC period drama Poldark, Heida Reed is more used to being part of a large ensemble cast than taking the lead. So when she won the title role in Stella Blómkvist, there was only one person she turned to – Ross Poldark himself.
“I actually texted Aidan Turner saying, ‘How did you do it?’” she reveals. “Suddenly I realised what it felt like to be in his position and I remember asking him, ‘Were you shitting yourself in the beginning at the first read-through and on the first day of filming?’ He just told me not to worry and had some nice, encouraging things to say. It was interesting to feel what it would be like in his shoes a little bit, and it was nice to be able to talk to someone who understood where I was coming from.”
Having moved to the UK to embark on an acting career, Iceland-born Reed’s Stella Blómkvist part marks her first leading role in a homegrown series, after previously appearing in 2014 miniseries Hraunið (The Lava Field).
“It’s an old-school noir but in a modern setting,” she says of her new show. “Stella’s a femme fatale and detective in one, and all the villains are grotesque and over the top. It’s fun to step out of realism sometimes. All the Scandi noir stuff is as raw as you can get. We did that [in Iceland] with Case and Trapped, so it’s actually refreshing to do something a bit more fantasy-like.”
Adding to the appeal was the chance to play a role far removed from that of Poldark’s Elizabeth. “It’s always really nice and fortunate when you don’t get pigeon-holed into one thing and you get to explore how far you can take a different type of character,” she says, describing Stella and Elizabeth as extremes of her own personality. “I didn’t think I’d get it, because she’s blonde in the books – she talks about using her blonde hair as her weapon. Elizabeth was supposed to be blonde as well, so I’m always going up for blonde characters and thinking I’m not going to get them. I’m fighting the good fight [for brunettes].”
In addition to late-night shoots and unpredictable weather, another key challenge the actor faced was reacquainting herself with the Icelandic language. “I was told I had to be less clear,” she says. “Maybe because I’ve been doing Poldark for so long, I was being so careful with how I was pronouncing things because I don’t speak that much Icelandic except to my family. I got direction to be less clear and maybe more sloppy because that’s more natural, and Stella is not someone who necessarily enunciates every word. She’s someone who blurts stuff out. The longer I was there, the easier it became.”
Reed now has her sights set on a comedy role, having starred in a period drama and a heavily stylised series. But with the success of Poldark and the potential to play Stella Blómkvist for many more seasons, she could soon have two huge returning hits on
This series is the filmmaker’s dream on so many levels. I felt it was so good that the general public would not understand it or appreciate it. It was art, like David Lynch’s type of filmmaking, giving you clues throughout about what’s coming, making you think, colour-matching characters – stuff you would not dare do if you were making a commercial series. It was very cleverly done indeed. The writing and character creation is simply superb. My all-time favourite.
David Lynch made me fall in love with the format of television drama. This series prevented me going out on Friday nights to party as a teenager – nothing else was planned while Twin Peaks was on. The episodes directed by Lynch were magnificent television and they broke out of the format, with some episodes being double-length mini-movies. Characters are the key here – they were bigger than the story.
‘Bravo’ is what comes to mind when I think about Fargo. Who would have thought you could copy the Coen Brothers and do it so well? This is simply a superbly well-made, full-circle drama series. I liked everything: all the details, all the differences from the borrowed material, casting, acting, directing and the writing – just outstanding.
Something changed in television drama when 24 hit the small screen. For me it was the birth of binge-watching. I simply could not watch this series on regular linear television, I had to have the DVDs to see the next episode and then the next until there were no more. The format of telling a story in real time was masterful and very well done. 24 is the mother of all television thrillers. It never got old for me.
Bron/Broen (The Bridge)
In Scandinavia we are always on the lookout for that perfect coproduction. The makers of this series hit the jackpot – this is the perfect copro. The story of a body being found on the border of two countries set up a brilliant theme for a drama series and the dynamics between the two lead characters made this the best work I have seen out of Scandinavia
It’s hard to describe why this series is so good, but I’ll try. I love the fact that the main character, Don Draper, is so complex and unlikeable. I do not feel for him at all. Having worked in advertising, I feel like I know all the characters in the series first hand and what they are dealing with. The only thing that has changed today is the drinking at the office. It’s like everyday life in that business. Mad Men is a show that’s very hard to copy; it has its own special life.
Special mentions go to the following series that just missed out on my list: Battlestar Galactica, Better Call Saul, House of Cards (Netflix), The Wire, Dexter, Six Feet Under, The Office (UK), Les Revenants, The Sopranos, Life on Mars (UK), Shameless (US), Riget DK, Homeland, The Killing, and The Affair.
Kjartan Thor Thordarson, CEO of Sagafilm Nordic, tells Michael Pickard how the decision to expand Sagafilm’s business is helping Icelandic drama make its mark on the television industry.
In an increasingly competitive market where coproductions are no longer an exception to the rule, one production company is hoping to reap the rewards of its European expansion.
Iceland’s Sagafilm made the decision in February this year to open a new office in Sweden, to capitalise on the close links between Scandinavian broadcasters and with ambitions to impose itself further in Europe and beyond.
Announcing the move, Sagafilm Nordic CEO Kjartan Thor Thordarson said the decision to establish a new base in the centre of Stockholm was, in part, due to Icelandic broadcasters’ inability to meet the rising costs for series: “Our focus remains TV drama, but chances to grow domestically have been hampered by the national stations’ ability to pay the full production cost for local series. At the same time, there is a huge appetite from foreign broadcasters for original scripted drama and remake opportunities.
“Our goal is to up the game by accessing different markets from Stockholm where we will develop more ambitious projects with international partners and handle our remakes around the world.”
Now, just a few months on, Thordarson says Sagafilm’s new international strategy is already beginning to pay off, with the company’s flagship new drama Case (main image) being prepared to hit screens later this year.
He tells DQ: “It has changed everything. I’m closer to the Scandinavian buyers, which is very important if we’re to expand. I have seen quite a difference – a lot of people come to visit Stockholm to meet producers and channels, which you don’t see in Iceland. All the US channels seem to be looking at Scandinavia in a big way, and I profit from that. It makes sense being close to the market. It has done dramatic things for us.
“We hit it at the right time. The appetite for Scandinavian content is not losing ground – it’s still growing. What we’re seeing this year is there are so many more channels interested in buying this type of content and also getting in earlier, which is great for producers.”
Thordarson identifies a trend of European broadcasters moving away from the US content that has readily filled primetime slots in recent years and towards dramas from other countries that are proving to be ratings hits among domestic viewers. And it’s a trend of which many European territories are taking advantage.
“The US content seems to be giving way in Europe, so more slots are opening up for other things,” explains Thordarson. “When that happens, people look towards the successful markets, so both UK and Scandinavian content is benefiting, as are French shows. Italy has come in with Gomorrah and 1992. Germany is also getting more international recognition, so I think Europe is getting stronger.”
But it is in Scandinavia where Thordarson has seen first-hand the evolution of many networks’ attitudes towards homegrown drama, with an increasing number of nets throwing themselves into the arena.
“We have seen dramatic changes in Scandinavia,” he says. “All of a sudden in Sweden there are channels like Kanal 5, TV3 and HBO Nordic commissioning drama, which is new. Most of the people here in Sweden have previously said there were only two channels commissioning drama, and now there are five. The same thing is happening in other Scandinavian countries, including Iceland. We are seeing TV2 in Denmark adding more slots for local drama. The US content is giving way there, for example. I see this trend growing and the demand for unique content that’s not available everywhere is the reason for this. Channels are looking for more exclusive content.”
Sagafilm’s slate includes political drama The Minister for Iceland’s RUV, a fourth season of The Press (aka Pressa) for Channel 2 and an adaptation of a novel by author Stella Blómkvist.
But the series Thordarson says will be a game-changer for the firm is a new nine-part drama called Case, a thriller spin-off from its legal series Réttur (The Court).
Case opens with the apparent suicide of a promising young ballerina, and follows the battle between her biological parents and her foster parents to uncover the truth behind her death – all seen through the eyes of the lawyers involved. It is due to premiere in mid-October on Iceland’s Channel 2.
“The themes in the series are very much to do with what’s going on with social media – the problems of young people being too open online and the fact young girls are being manipulated to do things they’re not supposed to do. We expose a lot of dirt and filth along the way, not necessarily all connected to the death of this girl.
“We believe this series will change everything for us. If you take the UK, we saw BBC Four starting to air content they believed was for niche audiences, like Wallander, The Killing and our series The Night Shift. But it turned out a lot of British people want to watch international series not spoken in English. We’re like that everywhere, we just want good content – it doesn’t matter what language is spoken – and that benefits smaller markets. This year and next year you will see Icelandic, Finnish and Eastern European series doing very well internationally.”
A consequence of, or perhaps the motivation for, greater coproduction is the increasing budgets television dramas now demand, and Thordarson says Sagafilm is already adapting its own financing model.
“We used to look at Iceland as our primary market, but now we look at Europe as our primary market,” he says. “We’re financing our series completely differently now. In the past we financed 90% in Iceland and perhaps brought one Scandinavian channel on board. Now we’re looking at projects where we’re financing half out of Iceland and the rest internationally. It’s a completely different way of approaching things.
“The projects have changed as well; they’ve become more international. We look for stories we know will work in more than one country. We are even looking to commission things that are set in Iceland, but are not commissioned for Icelandic channels. Maybe we will sell it to an Icelandic channel. So we’re definitely doing things differently and looking for things that are global and fit into this coproduction model with characters from more than one country.”
Sagafilm’s expansion into Sweden, coupled with the growing appetite for Icelandic drama – BBC Four previously acquired Trapped – means it is now well placed to make its case for being a major player in the international market.