Episode list

Period: 1906-1958. In the first episode, the films made from the first half of the twentieth century until the end of the fifties are discussed, together with the main documentaries of that period. A desire to deal with a new form of expression, the cinema, with optimism and daring is prominent, but difficult situations and broken dreams also play a part.

Period: 1962-1984. The second episode discusses the films associated with the so-called Icelandic film spring, from the beginning and up to the mid-1980s. This is the period when regular production of Icelandic films began, and can be described as a creative explosion. Most of the films were very enthusiastically received by the public. The lead-up to this period is also described and how it led to the establishment of the Icelandic Film Fund in 1978, which laid the foundation for the continuous production of Icelandic films.

Period: 1985-1990. The third episode covers the second half of the 1980s, when both popular films and large, ambitious works appeared. A number of new directors appeared in this period, but the audience was not as willing as before to come to the cinema, just because the film was Icelandic. Were the promises made by the Icelandic film spring about to evaporate?

Period: 1991-1995. The Oscar nomination of Children of Nature in the early nineties marks a turning point in the history of Icelandic films and they became more visible than before on the international stage. Cooperation increased with other nations on the production of films. During this time, new directors appeared who focused on the urban environment and appealed to a younger audience.

Period: 1996-2000. In the second half of the 1990s, Fridrik Thor Fridriksson and his company, the Icelandic Film Corporation, became all-encompassing. During this time, Fridrik made two films, Devil's Island and Angels of the Universe, both of which have a unique place in the history of Icelandic cinema. At the same time, the Icelandic Film Corporation became the backbone of Icelandic filmmaking and produced the vast majority of films.

Period: 2001-2007. At the beginning of a new century, a new generation of filmmakers appears and the number of films increases. Contemporary emphases are evident, but approaches are diverse. Some films are very personal, others are more about entertainment and the zeitgeist. The outside world was prominent in those films, both as a setting but also in terms of references to international film tradition.

Period: 2004-2008. In this period the number of Icelandic films continues to increase. Many have strong Icelandic flavor, most of them take place in the present day but draw on history and folklore or look at social structures and interaction habits. At the same time, many films appear in which the outside world is prominent in various ways. The question of what constitutes an Icelandic film will be asked. The films of Solveig Anspach get a special review.

Period: 2009-2014. The ideas that appeared in the films at the end of the first decade and at the beginning of the second, were heralded by a new generation of directors. Many of them attracted a lot of attention as the second decade progressed. The characteristics and characters of Icelandic films and the Icelandic audience's relationship with them is also reviewed.

Period: 2011-2019. During the second decade, the number of Icelandic films increased greatly, and towards the end of the decade there was also an increase in the number of female filmmakers. These films and the fight for an increased role for women in filmmaking is discussed. The emphasis on comedies on the one hand and dramatic films on the other became sharper than before. The great increase in drama series during the decade and their success on the foreign stage is also reviewed.

Period: 2011-2019. In the second decade of the century, the works of Icelandic directors attracted more attention on the international stage than ever before. These films are discussed and a group of foreign film experts are interviewed about the success of Icelandic films on the international stage. Sigurjón Sighvatsson's career as a producer in the United States is also discussed, and Baltasar Kormákur discusses both his Hollywood films and the films he made in Iceland during the decade. Finally, the current situation and future prospects are reviewed.