Research on globalization in European film and film culture generally focuses on the homogenizing effects of globalization. Consequently, the relationship between heterogenization and globalization, reflected in the reinvigoration and reconfiguration of the nation state, sub-and pan-national regionalization, and the different modes of relating to new forms and content, are underexposed. Since the 1990s, Danish film culture has been influenced by an increasing professionalization. From the bottom up, new generations of filmmakers, born into an international media culture, with Lars von Trier as a central figure, have set new standards. From the top down, annual funding budgets and film output have increased dramatically, and the support system has developed into a heterogeneous system covering a wide range of objectives, from industrial to creative. In order to move from the macro-theoretical level of globalization to an empirical level, this paper integrates the concept of ‘glocalization' as a heuristic tool in the analysis of trends of globalization. This approach emphasises agency rather than structure and sensitizes the analysis to the relationship between heterogenization and globalization. On the basis of two case studies, one on The Art of Crying (2007), by Peter Schønau Fog, the other on Flame and Citron (2008), by Ole Christian Madsen, this paper argues that regionalization, internationalization, and a variety of film types and modes of addressing audiences is main trends in contemporary Danish film culture. Consequently, the conclusion is that the intensified globalization of film cultures does not necessarily lead to homogenization, but also to cultural heterogenization.