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International statistics

10 September 2010 à 15:19

International box office results for French films: July & August, 2010

With 7.5 million admissions registered abroad in July and August, French films matched their performance from the 2009 summer season. The Extraordinary Adventures of Adèle Blanc-Sec, Heartbreaker, Oceans, and The Concert were the standout titles of the summer of 2010.

Rank Title Admissions B.O. revenues No. of prints No. of countries Total admissions
1 The Extraordinary Adventures of Adèle Blanc-SecThe Extraordinary Adventures of Adèle Blanc-Sec The Extraordinary Adventures of Adèle Blanc-Sec 2,291,153 9,875,516 1,618 3 2,449,469
2 Oceans 669,138 3,187,804 418 6 6,335,829
3 Splice 469,155 2,678,279 976 14 3,122,829
4 The Ghost Writer 437,475 2,698,871 454 11 6 346 518
5 The Concert 414,017 2,595,895 266 7 1,721,158
6 Heartbreaker 358,375 1,938,445 339 3 457,545
7 Solomon Kane 317,465 1,971,689 283 1 1,360,503
8 Micmacs 230,362 1,462,855 147 5 684,523
9 Coco Chanel & Igor Stravinsky 209,412 1,252,090 130 4 528,688
10 Little Nicholas 146,807 809,146 137 3 1,643,398
11 Gainsbourg
139,727 858,440 105 4 322,529
12 Changing Sides
110,607 502,858 64 2 429,871
13 Cell 211 104,970 334,666 123 3 279,568
14 The Hedgehog
99,138 722,443 110 4 960,811
15 Farewell 91,044 622,699 44 3 150,492
16 Leaving 89,399 607,955 52 3 313,484
17 Mesrine: Public Enemy Number One (Part 1)
80,246 428,940 50 2 1,078,705
18 Mademoiselle Chambon 79,634 521,810 62 4 156,799
19 London River 72,773 455,266 104 3 79,100
20 22 Bullets
68,533 479,052 38 2 629,328
             

Without a doubt, The Extraordinary Adventures of Adèle Blanc-Sec was the big winner of the summer season. Attracting 2.3 million spectators in foreign theaters in a matter of weeks, Luc Besson's latest offering has stamped itself as one of the year’s breakout hits, with international admissions already outscoring those in France. It’s most impressive results to date are in China, where it pulled in 1.8 million moviegoers in three weeks. The film thus ranks as the biggest success to date for a French-language film in this territory, overtaking the previous record-holder, Les Deux Mondes (1 million admissions). In recent years, China has emerged as an increasingly important market for French films. Despite the imposed quota system, which limits the number of French films released to around five titles per year, films achieve strong results due to their wide release, with up to 1,000 prints distributed. However, these films generally remain in theaters only two weeks, after which they are replaced by Chinese films. Released by the Hong Kong distributor Domo Media, Adèle Blanc-Sec was offered a well-prepared and well-marketed release, enabling it to enjoy a more conventional distribution lasting several weeks. The film is currently on its way to crossing the 2 million admissions threshold. Adèle Blanc-Sec is also posting fine results in Japan and Russia, with 350,000 admissions and 270,000 admissions, respectively. It is slated for release this month in Spain and Germany.

After washing away everything in its path in Japan in January (over 2 million admissions), Oceans is now making a splash in South Korea, where it has registered 620,000 admissions. These results place the film by Jacques Perrin and Jacques Cluzaud in the top spot for French films in these territories this year, and it is coming very close to ranking as the number 1 French film in foreign territories. Currently clocking up 6.3 million admissions abroad, Oceans looks set to snatch this title from From Paris With Love (6.6 million admissions), thanks in particular to its large-scale release in Russia on September 9.
The Concert is close to reaching the 2 million admissions mark in foreign theaters. After attracting close to 700,000 spectators in Italy, and over 250,000 in Spain, the film by Radu Mihaileanu set out to conquer audiences in Germany. Pulling in 250,000 admissions in six weeks, it should easily top 300,000 admissions by the end of its run. The film is creating a similar stir on the other side of the globe, with a running total of more than 200,000 admissions in Japan.

Pascal Chaumeil’s film Heartbreaker continues its brilliant international career, with over 400,000 admissions to its credit after just a few weeks. Its most successful release to date is in Russia, where it attracted 180,000 spectators. It registered 130,000 admissions in the UK and 54,000 in French-speaking Switzerland on just 13 prints. After two weeks on Polish screens, the film totaled 68,000 admissions. This is a surprisingly successful score for a French romantic comedy, a genre that does not usually export well. Its success does, however, meet expectations after the buzz it received from international buyers at the film’s presentation in January.
Coco Chanel & Igor Stravinsky has just topped 500,000 admissions abroad, outscoring its French results of 132,000 admissions. The film has achieved its best results in the USA, where it has been seen by 200,000 moviegoers. It is likely to reach 250,000 admissions in this territory alone. This is an excellent achievement, but is nonetheless a far cry from results for Coco Before Chanel, which ended its US run with close to 900,000 admissions exactly one year ago. Coco & Igor has also registered 50,000 spectators in the UK as well as in China, where it was released in June.
Mademoiselle Chambon has just reached 150,000 admissions abroad. Germany has proved the film’s most welcoming territory, with over 50,000 admissions registered in less than one month. Also showing at this time in the USA, the film by Stéphane Brizé has clocked up 40,000 admissions to date.

Just prior to hitting theaters in North America, and more than two years after its French release, the first episode in the Mesrine series (Mesrine: Public Enemy Number One Part 1) was released in Montreal, Quebec. Drawing 52,000 spectators in two weeks, with 22 prints released, the film should reach 80,000 admissions all up, thus ranking as this year’s most successful French film in this territory. Its North American performance is more than respectable, with 29,000 admissions registered from 28 prints in its opening week. The second opus in the series has just opened in these two territories.

At the center of a rich harvest of French releases in the UK this summer was Gainsbourg, which came through with flying colors, boasting a running total of 110,000 admissions. The film is running shoulder to shoulder with the other major French hit of the summer season, Heartbreaker (132,000 admissions to date).
Holding its ground with 1.5 million spectators registered abroad, Little Nicholas hit German screens August 26 to high expectations. Ten days later, the film tallied 105,000 admissions and will no doubt quickly rise to top the 200,000 mark. Full marks to the film by Laurent Tirard, which has already scored 500,000 admissions in Poland, 220,000 in Belgium, and 200,000 in South Korea.

Finally, after reigning the Greek box office for three weeks, Richard Berry’s 22 Bullets is the French hit of the summer season, with 70,000 admissions registered. This is a fine score in this market, recalling recent results in Russia, where the film pulled in an impressive 450,000 admissions.

Author : Jean-Rémi Ducourtioux

Latest update : 14 September 2010 à 15:19 CEST

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Domo Media

Activities :  Foreign distributor (feature film), Buyer (feature films)

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