Thor Michael Aamodt

Carpenter Andersen and Santa Claus makes a deal which saves Christmas for them both.

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

Norwegian engineers are searching for oil and Egon Olsen convinces his friends to buy stocks in the oil market. In the process, Egon, stumbles upon a scheme to fool the Norwegian Government that there is indeed no traces of oil in the North Sea. The Olsen Gang tries to tell the ministry the truth about the oil but they are caught by Sheik El-Altan who, in order to make sure the boys keep their mouths shut, kidnaps Valborg and brings her to Egypt.

Hearing about the Kings Jewels hidden deep in a silver mine, the Junior Olsen Gang embark on a thrilling hunt to prevent the Jewels from landing in the wrong hands.

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

Rock'n'Roll and bananas has arrived the country, and Egon has found out about sabotage plans about a circus, in order to take it over.

The Gang form The Dynamites. After winning a talent competition they are told by manager Pop-Johansen that the band will be huge in the U.S. But is he only after their prize money?

24시간 내내 낮이 지속되는 백야의 주기에 살인 사건의 해결을 위해 파견된 수사관은 아주 특이한 난관에 봉착한다. 엉뚱한 실수로 자신의 파트너를 죽이게 되고... 은폐하려 하면서...

«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