Norwegian film incentive reform is moving up the political agenda after a united Storting asked the government to strengthen and improve support for film and TV series production in Norway.
The decision, backed by all parties in the Norwegian Parliament, calls for the scheme to become more internationally competitive, more predictable and better suited to attracting major productions. The proposal was put forward by the Green Party (Miljøpartiet De Grønne), but received cross-party support, reflecting a wider political consensus that Norway’s screen industry has cultural and economic potential beyond the domestic market.
A stronger Norwegian film incentive after recent screen success
Norway’s debate over film funding comes at a moment of international visibility for Norwegian locations, actors and stories. The Norway-set film Fjord, directed by Romanian filmmaker Cristian Mungiu, won the Palme d’Or at Cannes, while Jo Nesbø’s Detective Hole has brought Oslo and Nordic noir back to a global streaming audience.
For supporters of the reform, these examples show that Norway is no longer only a scenic location for foreign productions. It is also a country with recognised creative talent, strong production crews and stories that can travel internationally.
The Storting’s decision asks the government to make the film and series production incentive more reliable for producers planning large projects. In practice, this means reducing uncertainty over whether a production will receive support once it has chosen Norway as a filming location.
Why predictability matters for international productions
Norway’s current incentive scheme offers productions a refund of up to 25% of approved production costs incurred in the country. The Norwegian Film Institute (Norsk filminstitutt) administers the scheme, which applies to films, documentaries, drama series, animated films, studio work and post-production.
The problem, according to parts of the industry and several political parties, is not only the refund rate. It is also the limited and uncertain funding framework. Producers must apply within a fixed system and compete for available funds. If the annual pot is exhausted, even large productions that could spend substantial sums in Norway may not receive support.
That issue has become more visible after reports that The White Lotus considered Norway for a future season, with a planned local spend of nearly NOK 800 million, about €73.8 million. The production reportedly sought around NOK 200 million, about €18.4 million, in support, but the available funding was not sufficient. It later chose France.
For Norwegian policymakers, the case has become a practical example of what is at stake. A more predictable scheme could make Norway more competitive with countries that offer clearer tax rebates or rule-based incentives for film and television production.
Cross-party support links culture, jobs and exports
The proposal has support from parties across the political spectrum. Green Party MP Siren Julianne Jensen said the Storting’s position opens the door to a stronger and more predictable scheme. Conservative MP Haagen Poppe argued that Norway must provide greater certainty if it wants to compete for major international productions. The Progress Party’s Silje Hjemdal framed the issue as both cultural and economic, pointing to jobs and local spillover effects.
That broad support matters because film incentives are not only cultural policy. They are also linked to regional development, tourism, creative exports and skilled employment. International productions can generate work for local crews, visual effects studios, hotels, transport companies and service providers.
The Norwegian Film Institute said in February that five projects receiving support from the 2026 incentive round were expected to generate up to NOK 339 million, about €31.3 million, in production and post-production activity in Norway. The NFI offered reimbursement caps worth NOK 84.7 million, about €7.8 million, to those projects.
Norway’s screen industry is becoming more visible
The discussion also reflects a broader shift in the Nordic screen sector. Denmark and Sweden have long had strong international reputations in film and television, but Norway has gained attention in recent years through both arthouse cinema and streaming drama.
This has strengthened the argument that public support can help Norwegian productions and locations reach wider audiences without weakening local creative control. A stronger Norwegian screen production incentive could also help maintain production activity at a time when global streamers are more selective and production costs are rising.
The next question is how far the government is willing to go. The Storting has asked for a stronger and more predictable system, but the concrete model will depend on future budget decisions and possible regulatory changes.
For Norway, the choice is not only whether to support film and TV. It is whether to treat the screen industry as a long-term cultural and industrial asset, capable of creating jobs, exports and international visibility for Norwegian stories.
