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Producer Marianne Slot will continue her successful collaboration with Icelandic director Benedikt Erlingsson, following 2024 “Woman at War” with TV 9️⃣ show “The Danish Woman” and upcoming feature film “Normal Men.”

“It’s a comedy, as you can imagine. Benedikt Erlingsson and a 9️⃣ feminist producer – that’s a good combination,” she laughs, recalling their previous film about an environmental activist going rogue.

“’Woman at 9️⃣ War’ was so joyful to make. It is still being shown and used as a reference, even by politicians in 9️⃣ many different countries.”

Slot talks to Variety in Locarno, when she is picking up the Raimondo Rezzonico Award, given to industry 9️⃣ figures who have played a major role in international production.

A French producer of Danish origin, she has collaborated with such 9️⃣ directors as Lucrecia Martel, Lisandro Alonso and Sergei Loznitsa and has been co-producing Lars von Trier’s films since 1995’s “Breaking 9️⃣ the Waves,” including “The House That Jack Built.”

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

“She 9️⃣ is so full of cinema,” says Slot about the director.

“I jump into new cultures and I have to immerse myself 9️⃣ in them. On [Viggo Mortensen starrer] ‘Eureka’ with Lisandro Alonso, we had to go to the Indian reservation and meet 9️⃣ the tribe. I really do go to all these places.”

“She really believes in the cause and in the ‘light’ that 9️⃣ good films carry with them,” shares Benedikt Erlingsson via email.

“She is a warrior and fights for her films like a 9️⃣ brave knight dressed in white. Marianne has the talent of being brutally honest and at the same time perfectly sophisticated 9️⃣ and diplomatic.

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

Her production 9️⃣ company Slot Machine has always been “auteur-driven,” Slot notes.

“I have been producing for 30 years and what interests me the 9️⃣ most is going off the highway and onto little roads, exploring cinema and new forms.”

But personal relationships are also important.

“I 9️⃣ stay close to the director. You need to know if you can take risks together,” she says.

“With someone like Lars 9️⃣ [von Trier], provocation is what he does. He is shocking, because he doesn’t think there are any limits to what 9️⃣ you can show. He really dares to talk about things that are very, very difficult. Things that we don’t necessarily 9️⃣ want to see.”

“He wants people to think. It’s such a shame that some of them, or at least certain kinds 9️⃣ of press, are more interested in ‘scandals.’ They want headlines, but if you really dive into his work, it’s very 9️⃣ deep and very interesting,” she adds.

“Recently, there was a retrospective of his work at La Rochelle Intl. Film Festival and 9️⃣ many young viewers were discovering him for the first time. For them, it’s contemporary cinema. Not one of these films 9️⃣ has dated.”

While Slot still believes in the power of name directors, she is keeping an eye on the changing film 9️⃣ landscape.

“I don’t think there is less desire for films from people who are willing to take risks, but we have 9️⃣ to make sure we can keep making them,” she notes.

“Everyone keeps talking about content, about stars, but we are not 9️⃣ talking about the producers. We need to start doing that, because independent producers are becoming endangered species. And without them, 9️⃣ this kind of cinema simply won’t exist.”

“That’s why this award is absolutely fantastic, because even at festivals, sometimes we are 9️⃣ not even mentioned in the catalogue. When everything goes smoothly, people go: ‘Why do we need a producer?’ And then 9️⃣ things go to shit.”

Slot tries to approach each project differently, she explains.

“What I always do, or at least have been 9️⃣ doing for the last 10 or so years, is trying to restructure the production. I am a French producer but 9️⃣ I come from Denmark and work with directors from all over the world, from Japan to Iceland. Which means I 9️⃣ don’t have a safety net, but it gives me freedom.”

“We keep talking about how we can survive, how we can 9️⃣ protect creativity, but we also have to understand where the money comes from. Then again, I don’t do it for 9️⃣ money. I never think about making money, I think about making movies. And I believe we can continue to do 9️⃣ that.”

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