Questions of national identity in cinema continue to remain at the forefront of film theory. The ramifications of globalization and the technological renaissance of the last few decades have helped not only to redefine the concept of nation, but question the very nature of a singular national identity itself. As a consequence, the Nordic national cinemas and their place within a global context are subject to an ever-shifting exchange.The intersection between Nordic national cinema and its global projection brings us to one of Scandinavia’s most recent and successful offerings; André Øvredal’s commercially lucrative
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