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Producer Marianne Slot will continue her successful collaboration with Icelandic director Benedikt Erlingsson, following 2024 “Woman at War” with TV 📈 show “The Danish Woman” and upcoming feature film “Normal Men.”

“It’s a comedy, as you can imagine. Benedikt Erlingsson and a 📈 feminist producer – that’s a good combination,” she laughs, recalling their previous film about an environmental activist going rogue.

“’Woman at 📈 War’ was so joyful to make. It is still being shown and used as a reference, even by politicians in 📈 many different countries.”

Slot talks to Variety in Locarno, when she is picking up the Raimondo Rezzonico Award, given to industry 📈 figures who have played a major role in international production.

A French producer of Danish origin, she has collaborated with such 📈 directors as Lucrecia Martel, Lisandro Alonso and Sergei Loznitsa and has been co-producing Lars von Trier’s films since 1995’s “Breaking 📈 the Waves,” including “The House That Jack Built.”

Currently, she is also set to co-produce Karla Badillo’s debut feature “Oca” (“Goose”).

“She 📈 is so full of cinema,” says Slot about the director.

“I jump into new cultures and I have to immerse myself 📈 in them. On [Viggo Mortensen starrer] ‘Eureka’ with Lisandro Alonso, we had to go to the Indian reservation and meet 📈 the tribe. I really do go to all these places.”

“She really believes in the cause and in the ‘light’ that 📈 good films carry with them,” shares Benedikt Erlingsson via email.

“She is a warrior and fights for her films like a 📈 brave knight dressed in white. Marianne has the talent of being brutally honest and at the same time perfectly sophisticated 📈 and diplomatic.

If she had chosen a political career, she would be the secretary-general of the United Nations by now.”

Her production 📈 company Slot Machine has always been “auteur-driven,” Slot notes.

“I have been producing for 30 years and what interests me the 📈 most is going off the highway and onto little roads, exploring cinema and new forms.”

But personal relationships are also important.

“I 📈 stay close to the director. You need to know if you can take risks together,” she says.

“With someone like Lars 📈 [von Trier], provocation is what he does. He is shocking, because he doesn’t think there are any limits to what 📈 you can show. He really dares to talk about things that are very, very difficult. Things that we don’t necessarily 📈 want to see.”

“He wants people to think. It’s such a shame that some of them, or at least certain kinds 📈 of press, are more interested in ‘scandals.’ They want headlines, but if you really dive into his work, it’s very 📈 deep and very interesting,” she adds.

“Recently, there was a retrospective of his work at La Rochelle Intl. Film Festival and 📈 many young viewers were discovering him for the first time. For them, it’s contemporary cinema. Not one of these films 📈 has dated.”

While Slot still believes in the power of name directors, she is keeping an eye on the changing film 📈 landscape.

“I don’t think there is less desire for films from people who are willing to take risks, but we have 📈 to make sure we can keep making them,” she notes.

“Everyone keeps talking about content, about stars, but we are not 📈 talking about the producers. We need to start doing that, because independent producers are becoming endangered species. And without them, 📈 this kind of cinema simply won’t exist.”

“That’s why this award is absolutely fantastic, because even at festivals, sometimes we are 📈 not even mentioned in the catalogue. When everything goes smoothly, people go: ‘Why do we need a producer?’ And then 📈 things go to shit.”

Slot tries to approach each project differently, she explains.

“What I always do, or at least have been 📈 doing for the last 10 or so years, is trying to restructure the production. I am a French producer but 📈 I come from Denmark and work with directors from all over the world, from Japan to Iceland. Which means I 📈 don’t have a safety net, but it gives me freedom.”

“We keep talking about how we can survive, how we can 📈 protect creativity, but we also have to understand where the money comes from. Then again, I don’t do it for 📈 money. I never think about making money, I think about making movies. And I believe we can continue to do 📈 that.”

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