Solar Films, the production company led by Markus Selin, has been, by any standard, a pillar of the Finnish cinema in the 2000s. The films he has produced have topped the list in box office ratings in Finland between 2003 and 2006: Matti (Matti — Hell Is For Heroes), a film by Aleksi Mäkelä about former multiple ski-jumping world champion and Olympic medallist Matti Nykänen in 2006; Paha Maa (Frozen Land) by Aku Louhimies in 2005; Vares by Aleksi Mäkelä in 2004; and Pahat pojat (Bad Boys), also by Mäkelä, in 2003. The last of these racked up the biggest audience figures recorded in Finland since 1989 (614,643).

Äideistä parhain (Mother of mine) by Klaus Härö / MRP Matila Röhr Productions

Most of the films produced by Solar Films have been huge successes on the Finnish market. The morality tales of modern Finland directed by Aku Louhimies,Paha maa and Valkoinen kaupunki (Frozen City, 2006), have also won festival awards and international distribution contracts. Ilkka Matila at Matila Röhr Productions produced Äideistä parhain (Mother of Mine, 2005) by Klaus Härö, which has also enjoyed extensive success both at festivals and commercially. A good example of how to combine the roles of a financially savvy producer and an auteur is Aki Kaurismäki’s work in his production company, Sputnik.

Since the start of the present century, the number of Finnish film premieres has remained steady at 10 to 14 per year. The inadequate funding problem seems to have led to even the most distinguished directors not being able or willing to launch a feature film project more frequently than once every three or even five years. As a result, both directors and other artistic personnel such as cinematographers have sought international opportunities. For example, Klaus Härö directed his most recent film Uusi ihminen (The New Man, 2007) in Sweden, using a Finnish camera and sound crew but principally with Swedish funding.

Meanwhile, new filmmakers face a long and rocky road when trying to break into the business. There have been successes with original scripts firmly rooted in contemporary Finnish society, such as the tale of young nouveau riche adult by Johanna Vuoksenmaa inNousukausi (Upswing, 2003), an exploration of the importance of family as a source of wellbeing by Juha Koiranen in Rock’n'roll Never Dies (2007), and studies of disturbed young people by Petri Kotwica in Koti-ikävä (Homesick, 2005) and J.P. Siili in Hymypoika (Young Gods, 2003).

The social and political dimensions seem to be doing well in new Finnish cinema. Aleksi Salmenperä, who made a promising début with the comedy Lapsia ja aikuisia (Producing Adults, 2004), focused in his second film Miehen työ (A Man’s Job, 2007) on a man who becomes unemployed and decides to save his family by starting to sell sexual services. It is black humour, but also a startling indictment of our time and our lives. Here, seeking solace and support in one’s nearest and dearest is no longer possible. There is no time or space for it, as the father of the family imagines that he’s simply gotta do what a man’s gotta do: provide for his family and save face, whatever the cost.

And what about children, the next generation, in a world that is becoming increasingly hectic and increasingly challenging for adults? Perttu Leppä’s film Helmiä ja sikoja (Pearls and Pigs, 2003) is a comedy set in a world of child stars and singing idols that ends on a note of consolation: even though a child is left adrift and victimised, caring people can still be found. A more complicated portrait was sketched by Auli Mantila in her third film, Ystäväni Henry (My Friend Henry, 2004). Children left alone have to figure out their own survival strategies, but is imagination enough if it has not been nurtured sufficiently in the first place?

From entertainment tax to copyright economics and the cult of stardom

The status of Finnish cinema in recent years has gone through a major change, even bigger than the complete reversal of attitudes of the 1970s. Back then, the government began to regard Finnish cinema as culture, whereas it had previously been considered as more or less contemptible entertainment, punishable by an entertainment tax added on to ticket prices. The trend in the 2000s has been to see cinema more broadly, not only as art made by its creators but also as a business and a livelihood, as the industry has gained strength. Indeed, cinema output is a major component in the emergence of copyrights as a growth industry within the global economy.

Government funding for films increased steadily throughout the first half of the first decade of the 21st century, and at the time of writing (2007) it stands at about EUR 13 million per year; yet this is still less than half of what other Nordic countries contribute to the industry. Apart from the government, other major sources of funding for cinema, are TV networks purchasing preview and performance rights, film distributors, and other private and regional bodies, the last-mentioned having increased its contributions to film production. There is growth potential in co-productions. Finnish expertise in the film business is already in big demand and educational establishments strongly support that situation. The School of Motion Picture, Television and Production Design at the University of Art and Design Helsinki is one of the leading schools of its kind in Europe. Vocational training colleges also produce top-class professionals. Networking involving creators and the use of Finnish camera and sound crews and digital post-production expertise in European productions is already commonplace.

And on the other side of the camera, a breakthrough by Finnish stars has happened. Several Finnish actresses have been making their débuts in international leading roles. In addition to Minna Haapkylä with acclaimed performances in French films — Selon Charlie by Nicole Garcia (2006) and Le Serpent by Eric Barbier (2006) — expect to hear of Maria Heiskanen inMaria Larsson’s Everlasting Moment by Jan Troell (2008).