Fredrik Stenberg Ditlev-Simonsen
1992 (33 года)Norsk Couscous
Mohamed Chakiri
Fredrik Stenberg Ditlev-Simonsen, Sarah Benfaddoul
Dounia is in love with Norwegian Erik, which makes her cultural chameleon way of living challenging when he wants to get to know her Moroccan culture. Can her different worlds unite, and can love overcome the cultural differences?
Norwegian Couscous
Architect
Kerren Lumer-Klabbers
Eili Harboe, Ingrid Unnur Giæver
When a project to build a thousand flats in Oslo is put out to tender, architect Julie has an idea: why not convert empty underground car parks into residential buildings? A pitch-black, keenly observed satire about an all-too-near future.
The Architect
Syk pike
Kristoffer Borgli
Anders Danielsen Lie, Henrik Mestad
Signe and Thomas are in an unhealthy, competitive relationship that takes a vicious turn when Thomas suddenly breaks through as a contemporary artist. In response, Signe makes a desperate attempt to regain her status by creating a new persona hell-bent on attracting attention and sympathy.
Sick of Myself
Sønner
Erik Richter Strand
Nils Jørgen Kaalstad, Mikkel Bratt Silset
Trouble starts when Lars, a 25-year-old with few prospects for the future, discovers that an older man is fooling around with the teenage boys in his suburb. A terrible rage is triggered in Lars, and he embarks on a crusade to stop the abuser. But it soon spins out of control, and Lars' actions end up endangering those he set out to protect.
Sons
22 July
Paul Greengrass
Jonas Strand Gravli, Anders Danielsen Lie
On 22 July 2011, neo-Nazi terrorist Anders Behring Breivik murdered 77 young people attending a Labour Party Youth Camp on Utøya Island outside of Oslo. This three-part story focuses on the survivors, the political leadership of Norway, and the lawyers involved.
22 July
Da jeg traff Jesus... med sprettert
Stein Leikanger
Fredrik Stenberg Ditlev-Simonsen, Martin Jonny Raaen Eidissen
Little Oddemann uses every means available to find Jesus, including his slingshot. The film takes us to Norway in the late '30s, where we meet a series of burlesque and humorous characters, whose antics convince Oddemann that growing up may be a bad idea. Yet Oddemann finds there are certain rewards to being grown-up, such as partying and chasing women, that merit closer examination.
Odd Little Man
