50 Best Scandinavian Movies to Watch Now

This movie is different from a Netflix release about the same events. Actually, it’s different from any movie you’ve probably seen before. Depicting the terrorist attack that took 77 lives in 2011 in an island near Oslo, Norway, it’s made to make you feel as if you were part of the attack. It’s shot to resemble one take, and the time of the movie is the time it took the attack to unfold (so you’re witnessing it in real-time). While closely based on the accounts of two survivors, it follows a fictional character called Kaja who looks for her sister during the attacks. Utøya: July 22 pushes the limits of what you can watch in a movie but serves as a terrifying testament to the atrocity of a terrorist attack of such nature.

This Swedish movie is the story of Astrid Lindgren, one of the most translated children book writers of all time. Her work of over 100 books includes Pippi Longstocking and The Brothers Lionheart.

Away from the quiet existence of the characters she would later create, Astrid had a turbulent life. Her troubles start when she falls for the editor of the paper she worked at when she was young, a man 30 years her senior. This results in an unwanted pregnancy and Astrid is pushed to immigrate.

This Danish movie is about a failed 38-year-old bodybuilder who lives with his mom and has never left Denmark. In an expected move, and while telling his mom he’s going to Germany, he travels to Thailand in hopes of finding love.

It might at first seem like a disastrous storyline (of sex tourism), but that part of the movie is almost accidental. Teddy Bear is actually a sweet and likable story of a man who wants to break away from his domineering mother, and a journey of someone who starts growing up later in life.

There are many ways through which a friendship can form, but sometimes, it’s due to compassion for someone who needs help. Despite the somewhat fantastical clairvoyant premise, Beautiful Beings is mostly about this simple friendship formed with a bullied kid, which turns out not to be so simple at all. From a bummed cigarette, the friendship grows into a protective support system, filling up parental neglect with teaching each other how to live, but while some of these moments are totally wholesome, other moments lean into mischief, and sometimes violent danger. It may be a fairly familiar coming-of-age premise about male friendship, but Berdreymi executes it well, has a compelling cast, and isn’t afraid to go dark when necessary.

Though it starts off somewhat slow, I was delightfully surprised at how much I loved this movie. A 28-year-old man ventures through Europe with a buddy, ending in Copenhagen, where he hopes to contact the last of his family. There he enlists a local girl to help him. An interesting relationship unfolds as they take a captivating journey through Copenhagen in search of William’s grandfather. The tag line of the movie is “When the girl of your dreams is half your age, it’s time to grow up” and William really does have to grow up when he’s faced with his own personal tumult.
The girl is played by Frederikke Dahl Hansen, who gives an exceptional natural performance, which adds even more to the abundance of charm in this film.

Ida, the 2015 Academy Award for Best Foreign Language Film, is a stark black & white drama set in the early 60’s about a young Polish nun-to-be and her bawdy Aunt Wanda searching for the truth behind her family’s demise at the hands of the Nazis. What initially comes off as a painfully slow sleep-inducer pretty quickly evolves into a touching and lively contrast between the two lead characters; one virtuous and pure, the other boorish and hedonistic. Their journey is equal parts amusing, insightful and heartbreaking, with Ida’s personal exploration of self playing out as a remarkably humanistic affair. The cinematography by Lukasz Za and Ryszard Lenczewski is particularly striking, each shot a work of art in it’s own right. Logging in at just 82 minutes, the entire story whizzes by in a flash. The kind of film that will stay with you long after you’ve watched it.

When a group of percussionists illegally carry out a city-wide performance act, it’s up to policeman Amadeus Warnebring to stop them. The musical fugitives perform on stolen objects and disrupt public spaces, but Warnebring has his own reasons to pursue them so determinedly: he’s tone-deaf for one and born into a family of snobby musical geniuses for another, making this case all the more meaningful and consequential to him.

Sound of Noise is more than reminiscent of Stomp, what with its playful symphonies subsisting on random borrowed objects, but it is livened up with the suspense of a caper, the dry wit of a Swedish comedy, and the abundant charms of a light romance.

It’s slower and talkier than you’d expect from a semi-erotic film, but Ehnegard lives up to its title well enough to satisfy. It’s titillating, but in a cheeky rather than provocative way. The dialogues are lengthy, but they’re alternately witty and poetic, so despite the pace they never actually bore. Ehnegard’s real delight, however, is its beauty. Set in the old kingdom of Babenhausen, Ehnegard looks like a fairy tale come to life. The towering castles, the sprawling meadows, the twinkling forest lakes, and of course, the smartly costumed people who populate the scenery—all these and more ensure that each frame has a picturesque glow to it. And with Sidse Babett Knudsen (Borgen, Westworld) taking charge of an appealing cast, Ehnegard proves to be a charming watch.

When forming a nation, governments would like to view the entire populace as one people– for example, the Norwegians live in Norway. But plenty of these nations have smaller populations of different ethnicities, some that have been on the land far longer than the nation itself. Pathfinder is the first ever feature film depicting the Sámi people, depicting one of their tales. The film plays out like a familiar folk adventure, where a boy comes of age through clever thinking, but it also mirrors their struggle to keep their culture from Norwegianization, to protect their people from extinction. Pathfinder may not have the best special effects, but there’s a beauty in the way writer-director Nils Gaup depicts his home county of Finnmark, and the way he depicts his people’s past.

With the austere ethos of Dogme 95, most Dogme films tend to be naturalistic, serious dramas, dealing with heavy topics. Italian for Beginners is a Dogme film, but it’s one of the only lighthearted comedies considered to be one. It makes for a more casual, realistic approach to the romantic comedy, as students in an Italian class naturally build up connections through a subtle, dry humor, and consistent attempts to understand each other, as one does in a language class. It’s understated and subtle, but director and writer Lone Scherfig manages to make Italian for Beginners seem all the more charming.

Anthology films are interesting because it’s not just one film on screen– it’s multiple stories, one after the other, that might have different plots, but share similar themes, ideas, and styles that the filmmaker(/s) would like to display. Involuntary does have five separate short films, but rather than play one by one, writer-director Ruben Östlund chops them up and alternates between them, starting with small instances where the group pushes someone into a behavior, then eventually escalating and accelerating into much more difficult consequences. This makes for a very slow start to the one and a half hour film, but it also allows Östlund some scope, with this simple group dynamic directly affecting larger ideas such as public morality, masculinity, and high-risk behavior in teens amongst others.

The choice between practicality and passion is the subject of many a drama, but A Thousand Times Good Night depicts that passion stemming from a different place. Rather than pure expression, or creativity, director Erik Poppe depicts the passion of his former profession of photojournalism stemming from social importance– not just status, but in possibly changing the course of history. The semi-autobiographical story clearly has an understanding of the craft, and with her moving performance, Juliette Binoche proves to be an effective proxy, as her character takes risks her family find it hard to tolerate, and as continually choosing those risks, also entails influencing your family to make that same sacrifice. Some viewers might not agree with these choices, but nevertheless A Thousand Times Good Night is a palpable character study of someone whose career is personally interlinked with their advocacy, their identity, and their philosophy of what the world should prioritize.

Not for the faint of heart, this Russian-language Swedish film doesn’t actually display anything graphic on screen, but it still makes for a difficult and distressing viewing experience. Many films similar in spirit and subject matter have been released in the decades since Lilya 4-ever’s own take on human trafficking and child sexual exploitation, which might make it less effective for new viewers. But its tone is still unique enough to set it apart—all thumping electronic/rock music blocking out the pain, and naturalistic direction that allows the film’s young stars to be as authentically awkward and naively hopeful as possible.

With its grounded approach, A Day and a Half feels real, even if the exact events are fictional. Inspired by a couple of lines from a 2008 news article, Fares Fares crafts an intimate family drama for his first directorial debut, built in the bones of a hostage thriller. As a thriller, Fares consistently maintains its suspense, camera eyeing the gun present in most of the film. However, as the cop Lucas tries to defuse the situation with hostage-taker Artan, and the situation escalates to the National Task Force, Artan and Louise confront their broken family, lines opened by improvised hostage negotiations. While Artan’s understandable reasons shouldn’t absolve him of his actions, A Day and a Half effectively builds tension, only relieved at its slightly unrealistic but cathartic ending.

Christmas is a common setting for romance stories, because it’s obviously the best time to warm up… if you know what we mean. (Warm drinks, sweet treats, and snuggling with loved ones, of course.) Christmas as Usual seems to go along that vein, as Thea brings home her fiancé Jashan to meet the parents, and he tries to impress her family, as these family Christmas romances tend to go. This obviously brings about the relatable romantic troubles that anyone can empathize with, so it’s a bit of a shock when Thea’s Norwegian family treats Jashan so badly that it seems more insidious than good ol’ concern over their daughter. Had the story been approached with more sensitivity, Christmas as Usual would have been outstanding, but its current version never really questions the racism of the Norwegian family, or the passive way Thea just lets it all happen.