The Intouchables has gained almost 150,000 additional spectators abroad this week. Still riding high on its American career (Weinstein Co.), it has garnered in this territory a total of $4.3 million box office after 9 weeks in the theaters (being around 547.000 admissions). The film will have also leave an indelible mark on Dutch screens (Filmfreak), with 891,000 spectators gathered together in 18 weeks. This is an exceptional result for this territory. By comparison, Sarah's Key (Benelux Film Distribution), the second best performance of a French film reported since the beginning of the 1990s, had finished its run with 492,000 admissions. The Intouchables now tallies 21.9 million admissions abroad.
The Chef is sizzling in Greece (Village Films), where it has released to an encouraging start with 25,000 spectators recorded after its first full week in the theaters. It is the third best performance in this territory for a French film released in 2012, behind The Snows of Kilimanjaro (Feelgood – 36,000 admissions in five weeks) and The Intouchables (Filmtrade – 118,000 admissions in 11 weeks). The film has already attracted 308,000 spectators abroad in nine territories, with 131,000 admissions in Germany (Senator).
Farewell, My Queen has racked up $300,000 at the US box office (being almost 50,000 admissions) after 3 weeks in the theaters (Cohen Media Group), due in particular to a print run increased from 5 to 33 prints since its release. To date, this film starring Diane Kruger has tallied 136,000 admissions in eight different territories. Its score already allows director Benoît Jacquot to register his best performance abroad, ahead of Sade (107,000 admissions - in 2000), Villa Amalia (92,000 admissions - in 2009), Tosca (85,000 admissions - in 2002), and Right Now (42,000 admissions - in 2005).
On the Spanish Top 10 list (A Contracorriente Films) for the third consecutive week, Delicacy has so far tallied 129,000 admissions, being the third best performance recorded by a French film released in 2012 in this territory, behind The Snows of Kilimanjaro (Golem - 143 000 admissions in 13 weeks) and The Intouchables (A Contracorriente - 2.5 million admissions in 20 weeks). These very fine results contrast with the more modest ones realised by the film in other major European territories, such as Germany (Concorde - 58,000 admissions), in Russia (Carmen Film - 58,000 admissions), and the United Kingdom (StudioCanal Ltd. - 45,000 admissions). The film can count on many releases ahead throughout the world, in particular in Japan (Culture Convenience Club) and throughout South America, where actress Audrey Tautou enjoys the status of a genuine icon.
Rust and Bone has topped the 200,000 spectator mark abroad, and this in three territories alone. This is an encouraging start to its international career, with notable performances in Belgium (Lumière – 126,000 admissions), as well as the Netherlands (Lumière - 51,000 admissions). The Jacques Audiard brand in English-speaking countries and Marion Cotillard's reputation throughout the world should allow the film to overtake the performances realised by A Prophet, which attracted 1.2 million spectators abroad, almost half of which were in the major English-speaking territories.