Copenhagen, Denmark · Since 1998
We were nearly gone. Now we are the most interesting company in Nordic production. Here is how that happened.
The Story
Dig Films was founded in Copenhagen in 1998 by a group of Danish directors who were frustrated with the industry's appetite for safe, commercially predictable drama. They wanted to make films that interrogated Danish society — its quiet corruption, its performative egalitarianism, its relationship with darkness and cold.
The early years were defined by small budgets and enormous ambition. Midnight Fjord in 2009 was the breakthrough: a serial-killer noir set in Copenhagen that found an international audience and gave the company financial oxygen for the first time.
Through the 2010s, Dig Films built a catalogue that was respected but inconsistently monetised. Productions like Black Harbour and Snowblind won awards and found dedicated international audiences — but the company's rights management, streaming strategy and business infrastructure had not kept pace with the industry's shift.
Through the 2010s, the old Dig Films ran on a model that was already ageing: founder-led, debt-heavy, dependent on traditional broadcaster pre-sales and regional film funds. Those relationships held the company together even as the streaming economy upended the rest of the industry. By 2022, it was in technical insolvency.
The catalogue — 22 scripted TV series, 38 feature films, 12 TV movies — was underperforming dramatically relative to its quality. The company was months from being wound up when Lindholm Family Office made an approach. Multi-generational Danish shipping and logistics wealth, looking for a creative asset with genuine IP value.
In 2025, Lindholm acquired an 80% stake. The remaining 20% was rolled over to key creatives and management as sweat equity — aligning incentives from day one. A €50m commitment followed: €10m to stabilise the balance sheet, €15m for a three-year AI-enhanced content slate, €10m for AI and data infrastructure, €5m for international co-production partnerships, and €10m held as liquidity and opportunistic acquisitions. We are now seven productions into that chapter — and we are not finished.
"We did not come here to run a legacy company. We came to turn 25 years of great stories into a global IP engine — and to keep making more of them."
Jonas Mikkelsen · CEO, Dig Films
Our Approach
We do not make crime drama with tidy resolutions. The best Scandinavian noir illuminates the conditions that produce crime — the institutional failures, the social fractures, the human capacity for self-deception.
Every Dig Films production is built around the interior lives of its characters. The plot exists to reveal who they are. We hire directors and writers who understand the difference — and enforce it.
We are integrating AI tools across script development, visual pre-production and distribution analytics. The creative voice remains human and Danish. The efficiency gains fund more stories.
Danish stories for a world that understands them. We are rebuilding our distribution infrastructure — with catalogue monetisation, streaming partnerships and aggressive rights management as equal priorities to production.
Leadership
Seven leaders, one mandate: turn 25 years of great Scandinavian noir into a disciplined, data-informed, globally distributed IP engine — without losing the creative voice that made it worth saving.
Represents Lindholm Family Office as majority shareholder (80%). Brings a background in asset management and media investment, with a mandate to balance creative ambition against disciplined capital allocation. Pushes the bold AI strategy while insisting on measurable returns on every content and technology bet.
Danish, late 40s. Previously ran originals for a global streamer's Nordic slate, where he developed the playbook for building character-driven dark drama with international reach. Now responsible for the entire turnaround — transforming Dig Films from a domestic boutique into a data-driven international IP engine.
Award-winning writer-producer whose Skandi noir credits span three countries. Fiercely protective of creative voice and the company's artistic identity. Leading the evolution of the noir brand into fresh hybrids — tech noir, climate noir — while using AI for research, writers' rooms and pre-viz without killing artistry.
Former lead at the recommendation-algorithm team of a major European VOD platform. Building Dig Films' AI stack across script development assistance, audience insight, dynamic marketing asset generation and production optimisation — while navigating the ethics, IP and union dimensions of each application.
Media investment banker turned operator. Designed the three-year financial plan, cleaned up the inherited "Hollywood accounting", and set the greenlight criteria used for every production decision. Reports directly to Sara Lindholm on value creation, AI ROI and the capital allocation framework for the €50m commitment.
Line producer with 20+ years on Nordic TV and film shoots. Modernising production workflows through virtual production stages, AI scheduling and budgeting tools, and sustainable shooting practices. Navigating the cultural shift with legacy crews and union agreements while running the most ambitious slate the company has ever mounted.
Italian-Danish, with a global network among streamers, broadcasters and festivals built over 15 years in international sales. Turning Dig's slate into pre-sold international co-productions and maximising rights exploitation across theatrical, streaming, AVOD, FAST channels, gaming adaptations and podcasts — repositioning the brand in every market simultaneously.
Ownership & Investment
Multi-generational Danish shipping and logistics wealth, investing in creative IP with genuine long-term value. €50m committed across a five-year horizon.
Stabilise balance sheet — urgent payables, partial debt repayment, operational runway.
Three-year hybrid slate of AI-enhanced and traditional Skandi noir productions.
AI infrastructure, tools and specialist talent across script, production and distribution analytics.
International co-production and distribution partnerships — building the global network.
Held as liquidity buffer and for opportunistic acquisitions of catalogues or complementary IP.
80% Lindholm Family Office · 20% management & creative sweat equity
Co-production partners
Swedish Film Institute
Norwegian Film Institute
Nordisk Film & TV Fond
Creative Europe · MEDIA Programme
Distribution partners
Nordic+
FilmFernsehFonds Bavaria
Curzon Artificial Eye
Mubi (Select Titles)
Target EBITDA horizon
Improved EBITDA through catalogue
monetisation within 36 months.
IP value growth as primary long-term
return metric for Lindholm FO.
Work With Us
We are actively seeking international co-production partnerships for our in-development slate. Rights to the full catalogue are available through our international sales team.