Eli Anne Linnestad

A small Norwegian town experiencing warm winters and violent downpours seems to be headed for another Ragnarök -- unless someone intervenes in time.

Follows Karl (Nils Vogt), economist and accountant, after he is fired from his job and subsequently divorced by his greedy wife. After being helped out by his former colleague, Nils (Sven Nordin) and a travelling salesman, Henry (Arve Opsahl), the three become roommates.

Meet Dag, a couple's therapist who holds a 90% divorce rate. His philosophy in life is that people should live alone and he's happy to share that with his patients. Dag leads a quiet life and the only thing he loves more than his solitude is prescription drugs. However, Dag's peaceful existence is about to change radically when Eva enters his life.

Five boys meet in their teens. This lays the foundation for a career in crime, driven on by the dream of the big heist. Police are becoming aware of them, but the biggest threat is proving to be their own friendship. "Ran" is a high-profile television drama for four episodes. It a mix of drama and action, which is about both spectacular robberies, and about friendship and affiliation. The dilemma the gang encounters is similar to what most of us experience: there comes a point in life where the roads separate, where you realize that you and your old friends have grown apart. This causes a bigger problems for these guys, as this break is not just a little sad and melancholy experience - it is also a threat to their life, their future and their identity.

Norwegian miniseries based on Unni Lindell's mystery novel. Lise Sommer is haunted by her past in "Sørgekåpen" (The Mourning Cloak). Her best friend Esther Synnøve Lønn is found murdered with her throat slit. A few days later, Esther's son also disappears. When the police begin to scratch beneath the surface, it turns out that a childhood friend of Lise and Esther Synnøve is also missing. The relationship between the friends hides dark undercurrents. What really happened when the girls were little? And what are their mothers hiding? The dark threads between the characters are woven together in a dangerous pattern. Someone wants revenge, but who? And why? Cato Isaksen has a new and sinister murder case to solve.

In Northern Norway during the 1860s, a little girl named Dina accidentally causes her mother's death. Overcome with grief, her father refuses to raise her, leaving her in the care of the household servants. Dina grows up wild and unmanageable, with her only friend being the stable boy, Tomas. She summons her mother's ghost and develops a strange fascination with death as well as a passion for living.

A harrowing and ironic story about the first big and well educated generation born after WW2, living without any major concerns between 1965 and 1975.

40-year-old Elling, sensitive, would-be poet, is sent to live in a state institution when his mother, who has sheltered him his entire life, dies. There he meets Kjell Bjarne, a gentle giant and female-obsessed virgin, also in his 40s.

Marion is born limp and with a scarred face. Georg is also limp after a car accident. it takes more than a man to go together.

A great crazy-comedy from Wam & Vennerød. Bryllupsfesten (English: The wedding party) is a 1989 Norwegian comedy film written by Petter Vennerød, and directed by Vennerød and Svend Wam, starring Knut Husebø and Eli Anne Linnestad. Businessman Carl Otto "Totto" Holm (Husebø) is on the verge of bankruptcy, and plans a staged robbery of the family's Munch engraving.

It's July 29, 1981. In the majestic St Paul's Cathedral in London, Lady Diana Spencer marries Prince Charles. The same day, another celebration takes place in the canteen of a Norwegian small-town factory. It’s the newly-weds LIV and TERJE'S wedding party. In the pram lies their new-born daughter, DIANA, who, like her famous namesake, will be facing a lot of chaos in the years to come thanks to her parents. The wedding, and following years, are less glamorous than the royal counterpart, but indisputably much more fun. Through the eyes of Diana, we witness the rollercoaster of her parent’s marriage. To her, they are the worst parents in the world. Miles away from doing a decent job, constantly fighting yet still in love by the time Diana is preparing for her own marriage 30 years later.

The small town of Pinchcliffe is experiencing a great lack of snow, which is why the inventor Reodor Felgen is asked to create a snow machine. However, things do not go as planned.

Dimwitted, somewhat misanthropic Oslo mail carrier Roy's quiet life changes dramatically on the day he steals a set of keys and lets himself into the apartment of a deaf woman who seems to be in trouble with a psychotic criminal. Though he doesn't know it at the time, his and her fate are about to intertwine and this is not going to be to his benefit.

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A drama focused on Norwegian society in the 1970s, an era politically influenced by Marxism and Leninism.

Viveca is 31, divorced, and has a son of 6 years. She and her friend Aud have left the hectic everyday life and moved in with bohemians and artists. We follow these two women for five days, as they come in contact with many different people.

Follows the Junior Olsen Gang as they hunt down missing tax money stolen from a bank in 1835.

A warm, dramatic story about eleven-year-old Alise's encounter with a wild horse on the run.

«What do you really want», Jan shouts to Reidun. They are a young couple, but their relationship is brittle and seems to be dissolving due to both internal and external pressures. On the weekend they invite another couple for dinner, but the companionship and fun are gradually destroyed by quarrels and infidelity. Still, the two women finally seem to find understanding and solidarity in eachother. Week-End depicts how the political also permeate the private, in a way both original and typical of its age. The tension between old and new gender roles is one cause of the problems in the relationship between Reidun and Jan, but the political is just one aspect in a film that also deals with emotions, relations and identity. Week-End is rooted in 1970s social modernism, mixing modernist storytelling strategies with a political sub-theme of female identity and solidarity

A 16-year-old boy grows up in the '60s, experimenting with life, sex, drugs and alcohol.