The Making of Hallmark Christmas Films
Few studios capture the magic of the holiday season quite like Hallmark, and when it comes to Christmas films, their settings feel like scenes straight out of a snow globe. But those picturesque backdrops don’t just happen – they’re crafted with precision and care. We spoke to the teams at Hero Productions Iceland and Synthetic Cinema to uncover how they transformed Iceland’s rugged landscapes into perfect holiday settings for two recent Hallmark Christmas films.
Hero Production’s venture into Hallmark’s Christmas universe started back in 2019 with Love on Iceland, directed by Clare Niederpruem. That’s also when the team started working with Synthetic Cinema. “This project was the start of an incredible partnership,” says Bui Baldvinsson, producer and owner of Hero Productions. “Our collaboration showed them the depth of Hero’s resources and our unique understanding of Iceland’s locations and culture.”
The partnership resumed again in 2023, with both companies keen to test their creative limits. Synthetic Cinema’s Andrew Gernhard, reflecting on the enduring appeal of Hallmark collaborations, tells me: “Returning to Iceland, a country I hold dear, added to my excitement. Working with Hero Productions proved essential in successfully navigating the challenges of time, budget, and creative demands.”
Iceland’s appeal goes beyond its postcard-worthy views; with a 25% to 30% tax rebate for qualifying productions, it’s financially enticing too. “Iceland offers a stunning array of landscapes that feel almost magical, especially during the winter,” Bui explained. “Its rugged mountains, snow-covered plains, and charming towns blend exotic and familiar atmospheres — perfect for Christmas storytelling.”
Of course, producing films like these doesn’t go without logistical difficulties. “Filming in Iceland’s snowy, remote areas is both demanding and rewarding,” Bui tells me. “The challenges lie in transporting crew, equipment, and supplies through unpredictable weather. But Icelandic crews are highly skilled, adaptable, and experienced in managing extreme conditions.”
Pulling such projects off also requires a creative eye and seamless local cooperation. “Transforming parts of Reykjavik involves close coordination with local authorities,” explains Bui. “Iceland’s small, tight-knit community makes this feasible in ways larger countries can’t replicate.”
Production design also extends to remote, storybook-like villages. In Finish Line, shot in Rovanieme, Lapland, producer Thora Margretardottir recalls, “Rovaniemi felt like stepping into a winter wonderland where Christmas lives year-round. Its enchanting holiday settings — from Santa Claus’s Cave to frozen lakes — gave us a perfect canvas.”
The partnership’s success stems from what Bui describes as shared trust and mutual respect. “Working with Synthetic Cinema is a refreshingly collaborative experience. There’s no division or unnecessary formality, just talented people focused on making the best possible film.”
Andrew echoes this, noting, “The level of preparation and professionalism Hero brings ensures that everything runs smoothly. The only surprise is how exceptional they truly are — which, in hindsight, isn’t really a surprise at all!”
It’s no secret that productions often bring with them some unexpected adventures, and that was no different here. Andrew describes filming action-packed sequences, including cliff-hanging stunts and intimate scenes filmed in cosy Icelandic homes. “Each memory was extraordinary and will forever hold a special place in my memory,” he shares.
Finni Harðarson, Hero’s junior line producer, recounts how distinct the films were. “One was a National Treasure-meets-Indiana Jones adventure exploring Iceland’s legendary landscapes. The second was a heartfelt dog adventure with nearly 100 dogs on set — it was as joyful as it sounds!”
Despite the intense work, the cast and crew both cherish their experiences. “I thought people might tire of holiday films,” admits Andrew, “but the appetite only seems to grow stronger. It’s rewarding to see the audience’s joy when we premiere something fresh.”
