The Intouchables has made a notable entrance, climbing immediately to 8th place on the Japanese box office (Gaga Corporation). During its opening weekend, it attracted 70,000 spectators on a print run of 48 prints, and then a further 150,000 for its first entire week on the screens. This is an exceptional start for a French comedy in this territory, where, very often only action films and French films in the English language register launches of this kind. In just ten days, The Intouchables is hot on the heels of the Japanese results of The Artist, recorded at the beginning of the year (Gaga Corporation, 224,000 admissions in three weeks).
In Latin America, it is Colombia's turn (Cine Colombia) to fall under the film's spell. In three days, 34,000 spectators filled the theaters. This impressive start allows us to imagine that the 100,000 admissions mark will be reached before the end of the film's run. This would be a rare performance, achieved by only four other French-language films since the beginning of the year 2000: Oceans (Cine Colombia, 127,000 admissions), The Artist (Cine Colombia, 133,000), Amélie (Miramax Films, 143,000), and March of the Penguins (Exibravo, 152,000).
Lastly, after its 15th week on screens in the United States (The Weinstein Co.), The Intouchables has been seen by more than a million spectators and tallied $8.3 million at the box office. The film by Olivier Nakache and Éric Toledano has now reached 23.5 million admissions abroad.
Two Days in New York continues its career in the United States (Magnolia Pictures). Its revenues remain stable, around $140,000 for the third consecutive week, despite an increase from 20 to 42 prints. The film has raked in $500,000 since the beginning of its American release (being around 60,000 admissions) and now tallies 321,000 admissions worldwide, 86,000 of which are in Poland (Kino Swiat International), where it has enjoyed its best performance abroad. Its international release will continue throughout the year, with releases planned for Scandinavia, Russia (Cascade Film), and Spain (Alta Films).
Farewell, My Queen's print run has been reduced from 64 to 36 prints durings its 8th week on screens in the United States. However its revenues have only dropped by 26%, to $87,000 (being around 11,000 admissions). Benoît Jacquot's latest feature has accumulated 152,000 admissions in North America, the second best performance for a French film released in 2012 in this territory, coming in behind The Intouchables (The Weinstein Co.) and its million spectators.
The film thus stands out from the modest careers of other French releases this year across the Atlantic. In fact, the 37 French titles released in 2012 have generated 1.8 million admissions, whereas the 2011 titles still in release have attracted 8.4 million spectators. This situation is due to the very fine results of The Artist (The Weinstein Co.) and Tinker Tailor Soldier Spy (Focus Features) at the beginning of the year.
On the other hand, no French film in the English language with high theatrical potential has yet been released in American theaters in 2012 (Taken 2 will hit screens on October 5). Lastly, aside from Farewell, My Queen, no art house film has crossed the million dollar revenue mark, when, last year Sarah's Key (The Weinstein Co., 1 million admissions), Of God and Men (Sony Pictures, 500,000), Potiche (Music Box, 205,000), and Certified Copy (IFC Films, 170,000) all managed to make an impression on the American public.