The renowned Danish broadcaster DR Drama, known for series such as “Borgen,” “The Killing,” and “Cry Wolf,” is set to captivate the audience at the Cannes Grand Theatre Lumiere on April 24 with its latest drama “Harvest,” premiering in the main competition of Canneseries.
The series is notable for several reasons. It marks the long-form narrative debut of Martin Zandvliet, one of Denmark’s most esteemed filmmakers, who was Oscar-nominated for “Land of Mine.” This is his first exploration of rural life. “Think ‘Succession’ with tractors and tradition,” remarked Pernille Munk Skysgaard, director of sales at DR Sales.
Jealousy, guilt, and secrets are immediately apparent in the first episode, setting the stage for a gripping drama. At the grand family farm Feldumgaard, we follow siblings Astrid (Katrine Greis-Rosenthal, “A Fortunate Man,” “New Nurses”), Erik (Elliott Crosset Hove, “The Bridge,” “Godland”), and Thomas (Simon Bennebjerg, “Borgen,” “The Promised Land”) as they prepare for their father Gorn’s (Lars Brygmann, “Dicte,” “Riders of Justice”) 65th birthday. The celebration quickly turns tense, much like in Thomas Vinterberg’s “Festen,” when Gorn announces who will inherit the farm.
Neither Erik, the eldest son whose life revolves around Feldumgaard, nor the second son Thomas, who also lives on the farm with his family, but rather the youngest daughter Astrid, a rock’n’roll city girl and teacher, is chosen.
“Inheritance shouldn’t be based solely on gender or next in line, but also on heart, commitment, and calling,” Gorn tells the astonished party guests.
Beyond familial disputes, “Harvest” vividly portrays the challenges of farm life and the beauty of changing seasons, expertly captured by cinematographer Camilla Hjelm, Zandvliet’s long-time collaborator and European Film Awards winner for “Land of Mine.”
Completing the stellar cast are Charlotte Fich (“Prisoner,” “Unit One”), Joachim Fjelstrup (“Carmen Curlers,” “The Girl with the Needle”), and Helene Reingaard Neumann (“Another Round”).
The series, produced by Rikke Tørholm Kofoed (“Borgen,” “Prisoner”) for DR, is part of the New8 alliance of European public broadcasters and will launch in Denmark in October.
Variety spoke with Zandvliet before the show’s world premiere in Cannes.
When and how did you first get the idea for the show? What triggered your desire to set the story in a rural environment?
Martin Zandvliet: The idea stemmed from my love for Denmark’s natural landscapes, also depicted in “Land of Mine.” Denmark is largely a farming nation. As a child, I remember watching harvest machines and workers in the fields from the car window. Nowadays, farmers are often criticized for environmental damage. I wanted to use this rural setting to tell a different, non-political story—a family drama.
Most of my films explore the dynamics between children and their parents, as seen in “Tove’s Room,” “Applause,” “A Funny Man,” and to some extent, “Land of Mine.” Perhaps it’s due to my upbringing and my memories of childhood. Here, it’s about jealousy, guilt, and secrets.
I started developing this story about five years ago, jotting down ideas about a family—a father, mother, and three siblings. I wanted to create a narrative without guns, car chases, or explosions, focusing instead on normal people and their relationships. There are already enough crime shows and grim stories. In my view, simple tales about humanity never grow old.
The series was billed by DR as “Succession with tractors.” Besides “Succession,” what were your other inspirations? It’s hard not to think of Thomas Vinterberg’s “Festen” in the first episode…
I love “Festen,” so it was indeed an influence. I also considered “Into the Wild,” which features a scene on a farm. However, my goal was to create a series that felt incredibly real, where viewers see actors as genuine farmers, not AI creations.
How much research did you do to stay authentic and best capture the daily life at the Feldumgaard farm?
I spoke with numerous farmers, both conventional and eco-friendly, to learn what farming entails. As someone from the city, it was a steep learning curve. Farmers and consultants assisted during development and filming. I also took the actors to farms to learn skills like harvesting, sowing, wrangling cattle, and operating tractors and large machinery. Everything is done authentically in the series.
What were the biggest challenges? The specific rhythm of nature for harvesting and hardship that goes with working on a farm? The weather?
We spent 121 days filming, with 80% shot outdoors, heavily relying on the weather, which was challenging. We had to learn the timing for farm activities—filming only when sowing or harvesting took place. Weather conditions needed to be ideal, as muddy fields are inaccessible. Communication with tractors, harvest machines, or cattle had to be effective without appearing ignorant.
Tell us about your work method with your actors, how they trained to be in character?
I chose the actors to portray the siblings—Katrine Greis-Rosenthal, Elliott Crosset Hove, and Simon Bennebjerg—without initially assigning roles. I wanted them to develop an appreciation for farming and rural life. They were asked to consider if they would fight to inherit the farm or enjoy living on it, and what kind of siblings they would become. They spent significant time exploring their characters.
After six months of research, we agreed on their roles. This approach helped them respect their characters, encouraging them to find answers within themselves rather than looking to me.
I wrote a 500-page script, but allowed the actors to expand upon it, contributing whatever they felt necessary. The series is fundamentally about family and relationships, driven by character rather than plot.
How did you get the idea of the father’s decision to disinherit the eldest son and hand out the farm to the least interested-the daughter?
Through conversations with farmers, I learned that one of the biggest challenges in generational transitions is the traditional expectation for the eldest son to inherit, regardless of their farming suitability. Younger siblings, regardless of gender, are often overlooked. This presented a compelling dilemma for storytelling. It was intriguing to see how Astrid would rise to the occasion and her reasons for taking over the farm.
Initially, she takes over to provoke her brother Erik. However, she discovers a deeper connection to the land than expected. Erik, on the other hand, is left devastated by his father’s decision, as farming is all he knows. Without an education, he must reconsider his future. Meanwhile, Thomas, arguably the most capable farmer, lacks the desire to inherit the responsibilities of farm life.
Could you discuss your visual style? I feel there’s much poetry in life at the farm-from sunrise to sunset, the ‘ballet’ of tractors in the field. Also, I believe your own wife Camilla Hjelm is your cinematographer. How do you collaborate?
Camilla is integral to my work, serving as my eyes, voice, and support. She has sharp instincts not only visually but also narratively. Many stories I tell are inspired by personal experiences, and she’s adept at recognizing their origins. We enjoy collaborating on cinematography, focusing on what’s inside and outside the frame.
With full support from DR Drama, we were able to use natural light, adjusting scenes based on the sun’s position. This approach aimed to capture authentic moments with cinematic value, similar to our work on “Land of Mine.”
How was your overall first-time experience as TV drama writer/director?
I thoroughly enjoyed the process, from writing and casting to working with the crew. Spending a year outdoors in a rural setting was wonderful, especially with the changing seasons. I was fortunate to have the support of DR, who understood my filmmaking style.
How do you feel about finally meeting the audience with “Harvest,” in Cannes, then in Denmark?
I’m thrilled that “Harvest” was selected for Canneseries, both for myself and the team, as it’s been a lengthy journey. It’s a reassuring acknowledgment that we did something right. I hope audiences connect with the story, setting, and characters, particularly in Denmark, where the themes of jealousy and betrayal are universal and relatable.
What’s next?
I’m uncertain at the moment, though I would love to pursue a second season. I’m also exploring various projects, including films in the U.S., a TV show in the U.K., one in Germany, as well as personal developments. We’ll see!
