The screenings of the 9 films selected Female agents, Mutants, Paris, Leaving, Pierrot le Fou, The First day of the rest of your life, Regrets, A Prophet, High lane in the Fun Cinemas Andheri multiplex played to sold-out sessions every day and many spectators were turned away due to a lack of seats. Total attendance was around 3,000 spectators. Indian audiences demonstrated an avid response to the range of genres on offer and the talks between artists and audiences, chaired by an excellent Indian film critic, were warm and lively, and continued each time in an informal manner beyond the theater walls and even out into the street.

Apart from the public screenings, several events were organized so as to enhance interaction between French and Indian film professionals. The opening night reception, during which the legendary Indian singer and actress Lata Mangeshkar received the Legion of Honor by Jérôme Bonnafont, the French Ambassador to India, welcomed many Bollywood professionals and stars. The French delegation was able to visit Bollywood's Yash Chopra movie studios and to meet with independent Indian filmmakers and producers during an evening that allowed many contacts to be made and possible joint future projects to be discussed. Film directors Cédric Klapisch and Rémi Bezançon, along with the actress gave masterclasses at Whistling Woods International, the Mumbai Film School, as part of the On Set With French Cinema program.

Last but not least, many professional meetings were organized by Unifrance and Studio Canal, represented by Anna Marsh, after which film sales are now under discussion. In addition to the French artists already mentioned, the delegation included Jean-Paul Salomé, David Morley, Hélène de Fougerolles, Catherine Corsini, Cédric Kahn,Tahar Rahim, Abel Ferry and Fanny Valette. All had numerous interviews with media representatives, who followed the event closely.

[More]

[Note cinema en Inde.pdf]

More than 300 film industry professionals from both countries attended panel discussions and actively participated in debates. New at the 2009 meeting was a Focus on Poland.

The event got underway early Thursday afternoon with a report on French/German co-productions. Highly positive outcomes were reported, with 14 co-productions in 2008 and, to date, 17 in 2009. These figures prove that establishing the co-production agreement between France and  Germany and the signing of the co-production mini-treaty have enabled many film projects to be developed.
Later that day, producers gathered together at the first co-production market of the Franco-German Film Meetings - 2009. 21 Polish, German, and French projects were presented. Each producer was able to reveal his project to potential co-producers during individual meetings lasting fifteen minutes.

Friday morning was the occasion to take stock of new regulations in France and Germany (international tax credits and a new German film law) and allowed German and Polish participants to discover two French financial institutions that are highly active in film financing: IFCIC and Coficiné. At the end of the morning, Jacek Fuksiewicz, deputy manager of film production at the Polish Film Institute, and Maciej Strzembosz, president of the Polish Chamber of Audiovisual Producers, gave a presentation about the funding systems for Polish productions.
During the afternoon, theater operators, distributors, and producers from both countries discussed digitalizing theaters and, in particular, financing the transition to digital projection. In France, a consensus seemed to have been reached with the model proposed by the CNC, while in Germany the model proposed by the FFA has been rejected for reasons exterior to the project.

The day's final discussion centered around the protection of copyright, the Hadopi Law regarding p2p file sharing, and VOD. This is a hot topic because new media represent a huge field of activity for producers, especially because these new platforms offer new distribution and diffusion possibilities for their films.

Alongside the organized discussions and panels, many more relaxed moments permitted les formal conversations and meetings. Thursday night, the City of Strasbourg invited all the participants to a dinner at the Pavillion Josephine. The following day, Arte, one of the most long-standing partners of the Meetings, welcomed all the guests at a dinner at the headquarters of the Franco-German television channel.
On Saturday morning, members of the association got together for an extraordinary general meeting.

The 8th Franco-German Film Meetings will take place November 25 through 27, 2010 in Heidelberg.

[Projet Actu_Régulation.pdf]
[Projet Coproduction.pdf]
[Projet Numérisation.pdf]
[Projet Hadopi.pdf]

This year, festival organizers created a Focus France section to particularly highlight French film productions. Seven films participated in the Focus: The Last Flight by Karim Dridi, The Hedgehog by Mona Achache (in the presence of the director and the lead actress Josiane Balasko), Homme de Chevet by Alain Monne (en the presence of the director, Sophie Marceau and Christophe Lambert), J'ai oublié de te dire by Laurent Vinas-Raymond (in the presence of the director and Omar Sharif), The Beaches of Agnes by Agnès Varda, and The Refuge by François Ozon (in the presence of Louis-Ronan Choisy).

The festival is the best launching platform for a film in the Arab world. This year, spectators also had the opportunity of seeing Welcome by Philippe Lioret in the Cinema of World section, Little Nicholas by Laurent Tirard (in his presence) in the Cinema for Children section, A Prophet by Jacques Audiard in the Arabian Nights section, and Goodbye Gary Cooper by Nassim Amaouche (in his presence) in the Muhr Arab Features section.

The festival's economy is related to its territory, the United Arab Emirates, for which we obtained scant data last year.
Analysis for 2008 establishes 263,077 admissions. The UAE are the first market for French films in the Arab region, ahead of Lebanon (111,236 admissions) and Egypt (a mere 47,856 admissions in 2008).
In terms of market share, the UAE and Lebanon are at the same level of aroudn 5%, bearing in mind the total number of admissions is 2 million in Lebanon and 4 million in the UAE.

17 French films, 13 majority, and 10 French language productions were distributed last year in the United Arab Emirates. Among them were Dragon Hunters, Tell No One, Chrysalis, and OSS 117, Le Caire nid d'espions.
Action films in English, such as The Transporter III (100,000 admissions) have a high potential for attracting spectators in the region.

Distributors, whether they're Lebanese ( Italia Film,  Four Star Films, Empire...) or from the United Arab Emirates ( Gulf Film,  Front Row ...),systematically buy all the rights for the Near and Middle East, especially because of the satellite reach of pay TV networks.

The United Arab Emirates are not yet a large market, but they are already highly competitive. All the American majors have offices there and organizers of American film festivals (Tribeca, Sundance) rush to trade their savoir faire.

In this context, the Dubai International Film Festival remains the most important event of its kind in the Arab world - despite challenges posed by Abu Dhabi and Doha - and is used increasingly by distributors. Last year, The Class was bought by Gulf Film after being presented at the festival.

A Prophet by Jacques Audiard has been selected as one of five candidates for the Best Film in a Foreign Language title. It finds itself alongside The White Ribbon by Michael Haneke, its main competitor since the last Festival de Cannes in May 2009.
Marion Cotillard continues her successful American career and features on the Best Actress short list for her performance in the musical Nine.

Already this weekend, critics' associations of several cities have distinguished several French productions.
The Los Angeles Film Critics Association (LAFCA), which groups together sixty critics, gave its trophy for Best Film in a Foreign Language to Summer hours by Olivier Assayas. Distributed by IFC, the film had a fine career last summer, talling more than $1million in ticket sales. L’Heure d’été was also awarded the same prize by the New York film critics.
The LAFCA caused a sensation by awarding Best Actress to Yolande Moreau for Séraphine. This film also attracted good crowds upon its release in June: thanks to extremely favorable reviews, it raked up $600,000 in admissions with no more than twenty prints in circulation.

Already this weekend, critics' associations of several cities have distinguished several French productions.
The Los Angeles Film Critics Association (LAFCA), which groups together sixty critics, gave its trophy for Best Film in a Foreign Language to Summer hours by Olivier Assayas. Distributed by IFC, the film had a fine career last summer, talling more than $1million in ticket sales. L’Heure d’été was also awarded the same prize by the New York film critics.
The LAFCA caused a sensation by awarding Best Actress to Yolande Moreau for Séraphine. This film also attracted good crowds upon its release in June: thanks to extremely favorable reviews, it raked up $600,000 in admissions with no more than twenty prints in circulation.
Returning to Los Angeles: The Beaches of Agnes by Agnès Varda received the Best Documentary award. Released on 5 screens this summer, it made $150,000 at the box office.

In Los Angeles, just like in New York, by Michael Haneke was awarded the trophy in the Best Cinematography category, attributed to Christian Berger. The film was also awarded Best Foregin Film by New York Web critics.

The White Ribbon by Michael Haneke swept away the three most prestigious prizes at the European Film Awards - 2009, which took place Saturday, December 12 at Bochum in Germany: Best Film, Best Director, and Best Screenplay.

A Prophet, after its Best Film at The Times BFI 53rd London Film Festival, Best Foreign Film attributed by The National Board of Review of Motion Pictures, and its recent Prix Delluc awards, received Best Actor for Tahar Rahim and the Prize for Excellence for the editing done by Brigitte Taillandier, Francis Wargnier, Jean-Paul Hurier and Marc Doisne.

Isabelle Huppert also received a prize for her European contribution to world cinema

We should also note that the European Film Award for Best Animated Feature Film went to Jacques-Rémy Girerd for Mia & the Migoo. Proof, if such were needed, that French animation is well renowned.

The Taipei Golden Horse Film Festival - 2009 took place November 5 through 23. An important array of French films were selected thise year.
4 new films were given preview screenings before their theatrical release: Demain des l'aube (distributed 12/11 by Swallow Wings) in the presence of Vincent Perez and Denis Dercourt, Afterwards (distributed 12/4 by Catchplay) in the presence of Gilles Bourdos,  Villa Amalia  (distributed 12/4 by Joint Entertainment) in the presence of Benoit Jacquot and Isabelle Huppert, to whom the festival paid tribute through a retrospective composed of seven films, and  I Come with the Rain I Come with the Rain   (distributed 12/06 by Catchplay) in the presence of Tran Anh Hung, invited to the festival for a tribute to the cinematographer Mark Lee Ping Bing.

All up, 15 recent French features were presented in the festival's different sections and 6 short films completed the program. The Taipei Golden Horse Film Festival presents Asian films in its competition section and Tsai Ming Liang's Face, a French-Taiwanese coproduction, was nominated in five categories, including Best Film and Best Director. It was awarded Best Artistic Direction, along with Best Set Decoration and Best Makeup.

For its ninth edition, the Kaohsiung Film Festival once again took over the Vie Show multiplex from October 16 through 29, 2009. Since its inception, the festival has offered an eclectic programme with a focus on the best of genre films. This year, KFF selected a record number of French films, with three specifically French titles and two coproductions:  Martyrs by Pascal Laugier,   OSS 117, Lost in Rio  by Michel Hazanavicius, and in a special "Cannes Caméra d'or" sidebar,  Seaside  by Julie Lopes-Curval, Jellyfish by Etgar Keret and Shira Geffen, and Salaam Bombay by Mira Nair.

Catchplay, Martyrs' distributor, who had encountered some difficulties with the local censor's office with regard to the film's release, took advantage of Pascal Laugier's presence to organize press meetings and 2 screenings during the festival. These efforts paid dividends, for the film was approved by the censor for a release in 2010.

The 2009 Hong Kong Hong Kong French Cinepanorama - 2009 presented 38 features and 20 shorts at its 38th edition, and received Unifrance's support for this selection. It opened Friday, November 27 in Hong Kong, in the presence of numerous guests and journalists. Here, Isabelle Huppert and Benoît Jacquot met, among others, Raymond Chow, the legendary producer who discovered Bruce Lee. The opening film Ne te retourne pas* was released December 10, distributed by Deltamac.
Isabelle Huppert was the surprise guest at the opening night reception and willingly gave interviews to the media, and signed autographs and photos for the guests before heading back to Paris. Benoit Jacquot stayed a few days to present Villa Amalia to festival audiences, give a few interviews and a masterclass to the final year film directing students at the Hong Kong art school.

Anna Mouglalis and Jan Kounen arrived the day after Benoit Jacquot left and had a very busy schedule, with the preview presentation of Coco Chanel & Igor Stravinsky and interviews with all the local media. The film's theatrical release is planned for the beginning of January. It is being distributed by Deltamac.

The First day of the rest of your life, directed by Rémi Bezançon, proved a favorite with spectators at the 2009 French Film Festival in the Czech Republic, where it was programed in the Czech Critics' Choice competition section and won the highly sought after Audience Prize. For this section, Czech journalists and critics selected 10 films that had particularly appealed to them out of this year's crop. The First Day of the Rest of Your Life's victory will allow the distributor who acquires the rights to benefit from a grant of €10,000 offered by the Ambassade de France in the Czech Republic and TV5 Monde to support the film's release in Czech theaters before the end of 1010.

The 12th edition of the French Film Festival, which took place November 19 through 25, was a success in terms of ticket sales, with results reaching beyond expectations: since its creation, the festival has met with positive growth each year and continues to gain popularity in Prague and the provinces. This year attendance reached 17,500 admissions.

The festival also boasted a particularly strong artistic delegation. Film director Jean-Pierre Jeunet, accompanied by actress Julie Ferrier, opened the festival with a preview screening of Micmacs, released in the Czech Republic 12/03/2009 by 35MM. Another preview, Little Nicholas (released 12/10/2009 by 35MM), was also hugely awaited by Czech audiences; its director Laurent Tirard traveled to the festival to meet with the Czech media.
The Preview section also offered Czech spectators the opportunity of seeing Antichrist by Lars von Trier (released 11/26/2009 byr Artcam) and Panique au village by Stéphane Aubier and Vincent Patar (released 12/03/2009 by the Czech Film Societies' Association).

Caroline Bottaro, director of Queen to Play, and Philippe Fernandez, director of Léger tremblement du paysage (A Faint Trembling of the Landscape), also came to present their films selected for the Czech Critics' Choice.
This year's Short Film Evening programme was an out and out success, the two screenings in Prague playing to full houses. Grégoire Colin was present to accompany La Baie du renard, his first short film as director; Caroline Deruas, a young actress and director, also presented her short film  The Fire, the Blood, the Stars  alongside its producer Olivier Berlemont (Les films au long cours), who is also President of Unifrance's Short Film Commission. For the first time, the programme was extended to three other cities outside Prague: Europa Cinemas hosted it in Brno, České Budějovice and Hradec Králové.

Finally, this edition closed with the preview screening of A Prophet, in the presence of actors Tahar Rahim and Adel Bencherif. The film was released 12/03/2009 by Aerofilms.

[Note République tchèque.pdf]

This year, more than ever before, the festival, which took place from October 14 through October 29, highlighted French films, presenting 28 French or majority French feature films, 10 minority French features, and 6 shorts as part of the official selection. A Prophet by Jacques Audiard carried off the Best Film award. Acquired by Optimum Releasing, the film will be released January 22, 2010 in the United Kingdom.

To celebrate such a strong French presence, Unifrance decided to reinforce its participation at The Times BFI London Film Festival 2009 edition. A delegation of 15 artists gathered in Britain to present their films. After the Buyer and Sellers Event, Unifrance also invited British film industry professionals (buyers, producers, journalists) and French buyers to gather at the very select Groucho Club. More than 100 professionals were present.

Numerous professional meetings confirmed the festival organizers' desire to also make the festival a springboard for the film industry. During the Buyers and Sellers Event, which took place October 20, the thirteen French exporters present in London also had the opportunity to meet thirty British buyers gathered together at the Curzon Soho. This event adhered to a "speed dating" platform, with each session lasting 15 minutes.

Unifrance worked closely with distributors so that artists could come to London to present their films to the press and the public. Particular support was given to films without British distributors: Regrets by Cédric Kahn and The French Kissers  by Riad Sattouf. Both directors presented their respective films to full houses. Parallel to media activities, three specific encounters with the public were organized: Catherine Breillat, then Bruno Dumont met with students of the London Film School as part of the On Set with French Cinema program, and Jacques Audiard gave a Masterclass at the British Film Institute. Both of these events were co-organized by the London Film Festival and Unifrance.

For its 53rd edition, the Festival's program was ambitious. Its 193 features from 46 countries and 100 shorts were seen by audiences numbering 120,000, an increase of 5% on the previous year. More than 800 accredited professionals attended. Although increasing focus is being given to industry players, the festival continues to be mindful of the public, who can buy tickets to all screenings and film events (masterclasses, talks...). The festival remains Britian's major film event, largely dedicated to London audiences.

The English-language context of the United Kingdom is traditionally difficult for French films. Despite 30 to 50 releases per year, the market share of French output rarely reaches the fateful 1%. Annual box office generally hovers between £2 million (500,000 admissions) and £8 million (1.2 million admissions) during good years. Over the past four years, however, we've noted a highly positive evolution. 2008 was even an exceptional year, because, with more than £30.5 million (5 million admissions) box office, French films' market share achieved the absolute record of 3.1% as opposed to 0.4% in 2004 (£2.7 million, 0.6 million admissions). To a great extent, these exceptional results were due to the success of a few French blockbusters in the English language.

Since the beginning of the year, thirty or so French films have found their way to British theaters. Several were released with great success: such is the case of Coco Before Chanel handled by Optimum Releasing, which with almost 520,000 admissions, takes second place among films in the French language behind Amelie From Montmartre in 2001 (783,000 admissions). and The two part Mesrine: Death Instinct and  Public Enemy: Part One, handled by Alliance / Momentum Pictures, also achieved fine success with an accumulation of 200,000 admissions for both episodes. 

This edition unspooled October 7 through November 10 in six Portuguese cities: Lisbon, Almada, Porto, Guimares, Faro, and Coimbra.

The event aims to bring together Portuguese film industry professionals around French cinema. Its objective is also to support Portuguese distributors in promoting French films, to reinforce the image of French cinema with audiences and the media, and to develop television broadcasting strategies with local channels. La Festa, now traveling to 6 cities, Lisbon, Almada, Porto, Guimaraes, Faro and Coimbra, allows French films to reach beyond the border of the capital, introducing provincial audiences to our productions. This year, the 2009 Festa do Cinema Francês attracted more than 27,000 spectators.

The main section presented 21 features at preview screenings, which allowed the Portuguese public to discover the French film industry's most recent productions. Numerous artists went to the festival to present their work: Agnès Jaoui for her film  Après la pluie, the opener at Lisbon, Jan Kounen for  Coco Chanel & Igor Stravinsky, Josiane Balasko for A french gigolo , Rémi Bezançon for The First day of the rest of your life , Jane Birkin for Boxes, and, lastly, Ilan Duran Cohen for The Joy of Singing.

Agnès Varda was honored with a retrospective dedicated to her work at the Portuguese Cinemateque. The retrospective opened with her film  The Beaches of Agnes , which Agnès Varda Jeanne Balibar was also a guest of honor and was alongside Pedro Costa to present his film  Ne change rien.

Agnès Varda travel so that they can promote and present their films to local audiences and media, with a view to the films' later theatrical release.

Among European countries, Portugal remains a modest but regular market in terms of the number of French film releases: between 20 and 30 French films are distributed every year to results that oscillate between 300,000 and 500,000 admissions, apart from 2008, when almost 1 million spectators filled the theaters to watch French films. To a large extent, this was due to the success of Asterix at the Olympic Games, Babylon AD, and The Class.

On the occasion of the release of Paris in the United States in September, the film's director and lead actress accepted an invitation extended to them by several New York universities.

Juliette Binoche is the first actress to have participated in the On Set with French Cinema program. In New York, she responded to numerous questions from 200 students from NYU and SVA. She was accompanied by her American coach Susan Batson and focused particularly on her work with American directors.

Cédric Klapisch participated in masterclasses at the same universities several  days earlier. As a matter of interest, the director earned a degree from NYU some years ago. For its first edition in Portugal,the On Set with French Cinema program was held in Lisbon in October at the same time as the Lisbon - French Film Festival - 2009 with Jan Kounen and Agnès Jaoui giving a class at the ESTC (Escola Superiro de Teatro et Cinema) to 400 highly motivated students.

This year was also a first for London. During the The Times BFI 53rd London Film Festival in October, Catherine Breillat and Bruno Dumont met with students from the London Film School, a new school partner with On Set with French Cinema. The room was packed and the exchange between filmmakers and students proved to be enthralling and exciting.

Lastly, during the Rendez-vous with French cinema in India - 2009 in India in December, Cédric Klapisch, Rémi Bezançon and Déborah François (the second actress to participate in On Set) gave a masterclass at Whistling Woods International, Bollywood's film school.

In November, Unifrance provided support to 15 feature film festivals:

The Tallinn Black Nights Film Festiva, Cinemania, European Film Festival in Beirut, French Film Festival in the Czech Republic, Jubljana International Film Festival, Thessaloniki International Film Festival, Turin International Film Festival, Cairo International Film Festival, France Cinema Florida (Miami - Boca Raton), Taipei Golden Horse Film Festival, French Film Tour in Mexico, Hof International Film Festival, Stockholm International Film Festival, and São Paulo International Film Festival.

The Hard by Kathy Sebbah: Prix Fujifilm;
Bretelles, pudding et herbes hautes by Simon Lahmani: Best Original Music;
L'Âge adulte by Pierre Daignière: Television Prize;
The Year of Algeria by May Bouhada: Youth Jury Special Mention.

For its prize the Children's Jury selected Le Petit Dragon, a film by Bruno Collet, presented in the schools' programme.

Parallel to the competition, the market, of which Unifrance has been a partner for ten years, proved active and an essential aspect for the buyers and distributors who attended the festival. The distributors emphasize the global nature of this market, which nevertheless remains on a human scale, and gives priority to work meetings between producers, distributors, and  directors. Many among the professionals, who'd come from Spain, Japan, and even as far away as Australia, were able to establish first contacts with a view to the Clermont-Ferrand International Short Film Festival - 2010  in February.

The two French short animated films in the running for the prestigious statuette are  French Roast  by Fabrice O. Joubert (Pumpkin Factory, Bibo Films) and Logorama by H5 - François Alaux, Hervé de Crécy and Ludovic Houplain (Mikros Image, produced by Autour de Minuit Productions).

The final nominees for the Academy Award for Best Animated Short Film will be announced February 2, 2010. The 82nd Academy Awards ceremony will take place March 7.

[rapport-russie-cm-version-fr.pdf]

Committee Meeting November 4
7.57 am-pm – Beaver Films
The Wounded Knee and the Standing Man – Les Films du Requin
Climax – Sombrero Films

Committee Meeting November 17
La Prévention de l'usure – Les Films du Requin
Thawing Out – Les Films du Requin

Committee Meeting December 2
Des enfants dans les arbres – La Luna Production
Sacrificed – De Films en aiguille

Molodist Kiev International Film Festival, Dok Leipzig Documentary and Animation Film Festival, Hof International Film Festival, Tübingen-Stuttgart French-language Film Festival, Rio de Janeiro International Film Festival, Abitibi-Témiscamingue International Film Festival (Rouyn-Noranda), San Sebastian Horror and Fantasy Film Festival, Corona Cork Film Festival, Cinema Tous Ecrans (Geneva), Interfilm Short Film Festival Berlin, Winterthur International Short Film Festival, Istanbul International Short Film Festival, Leeds International Film Festival, Ciné Premières Traveling French Film Festival (Netherlands), Asiana International Short Film Festival (Seoul), Alcine Alcalá de Henares-Alcine, Cinanima - Espinho International Animation Film Festival (Portugal), Braunschweig International Film Festival, Alternativa, Barcelona Independant Film Festival, Stockholm International Film Festival, Czech Republic French Film Festival, Gijon International Film Festival for Young People (Spain), Bilba-Zinebi International Documentary and Short Film Festival, Hong Kong French Cinepanorama, Louvain International Short Film Festival.

Organized for the fourth consecutive year, this press junket aims to promote the French film industry in the Australian media, with the objective of increasing the distribution and acquisitions of  French films.

The journalists present were selected in consultation with Australian distributors: Philippa Hawker (The Age), Mark Naglazas (West Australian), Julian Shaw (FilmInk), Diana Streak (The Canberra Times), Andrew Fenton (Advertiser), Garry Maddox (Sydney Morning Herald), Nell Schofield (Show Time TV) and Peter Calder (New Zealand Herald).

During their stay in Paris, they were able to interview the directors and actors of 25 films slated for release in Australia and New Zealand in the coming months, or programed for The Alliance The Alliance Française French Film Festival, in partnership with the Alliance française: Christian Carion and Guillaume Canet for L’Affaire Farewell, Robert Guédiguian for The Army of Crime, Riad Sattouf for The French Kissers, Jan Kounen and Anna Mouglalis for Coco Chanel & Igor Stravinski, Danièle Thompson and Patrick Bruel for Change of Plans, Denis Dercourt for Demain dès l’aube, Mona Achache and Josiane Balasko for The Hedgehog, Anne Consigny and André Dussollier for Wild Grass, Bénabar for Incognito, Zabou Breitman and Marie-Josée Croze for Someone I Loved, Claude Miller for I'm Glad that My Mother Is Alive, Amanda Sthers for You'll Miss Me, Caroline Bottaro for Queen's Play,  Marie-Josée Croze and Marc Lavoine for Korokoro, Stéphane Brizé, Sandrine Kiberlain and Aure Atika for Mademoiselle Chambon, Michel Hazanavicius for OSS 117, Lost in Rio, Catherine Corsini for Leaving, Mia Hansen-Love for The Father of My Children, Rémi Bezançon and Zabou Breitman for The First Day of the Rest of Your Life, Fred Cavayé for Anything for Her, Cécile Telerman for Blame It on Mum, Stijn Coninx for Sister Smile, Jacques Audiard and Niels Arestrup for A Prophet, Marilou Berry, Allan Mauduit and Jean-Patrick Benes for Ugly Melanie, and Philippe Lioret for Welcome.

In 2008, the 29 French films that were released in Australian theaters attracted 2.4 million admissions for a box office of more than €14 million. This result places France in 4th position behind the United States, United Kingdom, and Australia. Among 2008's success stories, we note in the majority productions in the French language category: The Diving Bell and the Butterfly, with 98,500 admissions, and Welcome to the Sticks, with 76,500 admissions. When it comes to productions in a foreign language, Taken (633,000 admissions), The Duchess (467,500 admissions) and Babylon AD (139,000 admissions) stand out.

Despite the economic crises and a slowing down in admissions since the beginning of the year, French films had already raked up nearly 1 million admissions since September 30. Notable successes are I've Loved You So Long, which has accumulated more than 200,000 admissions since its release at the end of 2008,  Coco Before Chanel (250,000 admissions), Summer hours  (95,000), and for films in a foreign language: The Transporter III , with more than 295,000 admissions.

Since April 2009, the volume of French film acquisitions has noticeably increased. Many releases will therefore be tallied between December 2009 and October 2010, among which these titles feature: Gainsbourg (Vie héroïque), Wild Grass, Welcome, Mademoiselle Chambon, LOL (Laughing Out Loud) , The Hedgehog, The Army of Crime, Sister Smile etc..

For some years now, Unifrance has strongly supported French productions in this territory, by organizing this press junket and by supporting the festival and theatrical releases through the presence of French artists who travel to Australia to promote their films.

Xavier Giannoli and Soko traveled to Switzerland for the release of A l'origine (In the Beginning).
Riad Sattouf traveled to Lebanon for the release of Les Beaux gosses (The French Kissers).
Gilles Bourdos traveled to Taiwan for the release of Et après (Afterwards).
Mona Achache and Josiane Balasko traveled to Egypt for the release of Le Hérisson (The Hedgehog).
Rébecca Dautremer traveled to French-speaking Switzerland for the release of Kerity, la maison des contes.
Clovis Cornillac  traveled to French-speaking Switzerland for the release of La Sainte Victoire.
Hippolyte Girardot traveled to Japan for the release of Yuki et Nina.
Radu Mihaileanu traveled to Quebec for the release of Le Concert.
Stéphane Brizé traveled to Quebec for the release of Mademoiselle Chambon.
Eric-Emmanuel Schmitt traveled to Switzerland for the release of Oscar et la dame rose (Oscar and the Lady in Pink).

21 French sales agents, 9 of which grouped together under Unifrance's umbrella, were joined by 8000 buyers from 70 countries during the 30th AFM in Santa Monica.

This edition was dominated by the strong confusion of a sector in the process of radical transformation and whose future remains unclear.
A sign of the economic crisis, along with the panoply of alternative digital distribution platforms which are yet to be profitable, the number of sellers was slightly lower this year. The AFM's organizers announced a superior number of buyers in attendance, but these mainly came from the digital distribution sector or countries that are new players in the market. The thirty screens available to the market offered the same number of screenings as last year. However, the sessions were poorly attended, an echo of the hallways of Loew's Hotel, which were often deserted.
Market results reveal that some French sales agents currently face distributors weakened by difficult access to bank loans, pirating, a decrease in acquisition volume, and the market price of television channels impacted by decreasing advertisement revenue, as the advertising sector has also been hard hit. It is nevertheless noticeable that some buyers have started to return, albeit cautiously, to the market.

A strong point of the AFM, this year like every year, was the opportunity that Unifrance's reception provided French sellers to spend a few precious hours with more than 300 foreign buyers of French films.

On the American side of things, the major independents (Lionsgate, Overture Films, Summit Entertainment, Weinstein Company Inc., and Fox Searchlight) are no longer really interested in foreign language films. The falling DVD market and low acquisitions of television rights, controlled, in addition, by two specialized cable channels (IFC, Magnolia), have limited French films at the only market for independent theater operators. Several independent distributors continue to buy (Music Box Films, Lorber Films, Strand Releasing, Zeitgeist Films, Kino Lorber ), but for increasingly lower minimum guarantees and release budgets.

The alternative distribution models such as IFC and Magnolia, backed up by an important cable operator network and requiring high volume to supply VOD and television, currently allow exporters to sell many titles, sometimes to the detriment of potential theatrical releases.

A significant exception stands out among the rest: Sony Pictures Classics - USA benefits from its new position of strength to fiercely negotiate French film rights.

It is for this reason that Unifrance joined forces with Ubifrance, with support from the Cultural Services Department of the French Embassy in the United States, to organize professional meetings with the major players in the digital distribution sector located in the San Francisco Valley. Held on November 2 and 3, 2009, the meetings were held in the presence of representatives from Gaumont, StudioCanal, Roissy Films, EuropaCorp, Rezo Films, TVFI - TV France International, and l'INA - Institut National de l'Audiovisuel. The objective was to raise awareness of the current state of supply in the industry and to evaluate the expectations of US companies.
The range of industry players discussed included YouTube, Netflix, Vudu, Jaman, Amazon, and Apple (Itunes Video), reflecting the current state of the market and the various scales of operations (ranging from an innovative new company to a well-established firm), at a time when technological and marketing choices are becoming crucial for success. Digital distribution systems are beginning to take hold in the USA, and the companies concerned in this new development hope to expand their activities abroad in upcoming years.
Spectators now have a number of possibilities for viewing digital films in the USA: online purchase, rentals ordered online, and rentals ordered from televisions or computers (pay per view). Companies earn profits from subscriber fees, direct consumption, and advertising. However, none of these operators offer significant financial benefits for rights holders. Providers generally rely on the major film catalogs for content, and in the United States this entails working primarily with the Hollywood studios. Nevertheless, all parties are aware of the limitations of this system and attention is turning to independant players, who attract a wide audience of consumers ready to pay for viewing films that are not easily accessible through the traditional theatrical or video distribution channels.
Due to the great interest that these meetings inspired and the strategic importance of these developments, it has been decided to renew them in 2010.

Germany
Due to exhibitors' refusal to withdraw their complaints, the FFA has cancelled its plan to digitize movie theaters.
Following a complaint lodged at the initiative of UCI four years ago by nine German exhibitors, the State Court of Leipzig returned its verdict on February 25, 2009: The German TSA is considered unconstitutional. In reaction to this decision, numerous exhibitors made the decision to pay their tax contributions "with reservations" while awaiting the final decision from the Constitutional Court. As a result, the FFA Filmförderungsanstalt can no longer commit the sums necessary to support film production, thus jeopardizing Germany's national movie industry.
As a backdrop to this industry crisis, the FFA presented a joint proposal on June 19 promoting the transition of movie theaters to digital technology. According to this proposal, all German movie theaters would benefit from funding support. The FFA's Board of Directors offered to inject 40 million euros over five years. One of the conditions of this proposal was the withdrawal of the complaint presented to the Constitutional Court by exhibitors.
However, at a meeting held November 16, the FFA's High Commission was forced to admit the failure of this proposal and its plan for digitization of theaters since it confirmed UCI's refusal to withdraw its complaint.

United States
Richard Lorber and Don Krim, veterans of independent film distribution, announced the merger of their companies resulting in the creation of a new major player in the sector, dubbed Kino Lorber. This new outfit offers a combined catalog of over 600 titles, including a host of French and international features, documentaries, and specialized genres.
Lorber HT (Lorber Hidden Treasures Inc), a group of investors put together by Richard Lorber, bought up all the shares of Kino and appointed Richard Lorber and Donald Krim as co-directors of the company.
Lorber and Krim will share the title of president, and with their new business aim to release around 20 films in theaters and around 60 titles on DVD and digital platforms annually.
Kino Lorber will offer four separate distribution companies: Kino International Films, Lorber Films, Alive Mind for documentaries, and Knitting Factory for musical titles.
The company directors will continue to acquire new films for their companies. Don Krim will maintain his previous distribution activities, while Richard Lorber will work to develop digital platforms. This new outfit will employ 25 staff members at the offices of Kino International, New York.

South Africa, a new market for French cinema?
The South African market is the only truly structured market in the African continent.
[analyse-marche-afriquedusud-nov09-version-francaise.pdf]

10 years of French cinema in Russia
To coincide with the 10th Festival of French Cinema Today in Russia, Unifrance has published a study on French cinema's presence in Russia over the past 10 years.
[dix-ans-de-cinema-francais-en-russie-version-fr.pdf]

Market Report on Australia
Unifrance presents a Market Report compiled during a visit by Australian journalists to Paris earlier this year.
[note-australie-automne-2009-version-fr.pdf]

Market Report on the Czech Republic
Unifrance presents a Market Report compiled to coincide with the 12th French Film Festival in the Czech Republic.
[note-republique-tcheque-nov09-version-fr.pdf]

With 5 million admissions to its credit in foreign theaters, Coco Before Chanel has proved a major hit. The most successful French-language film of 2009, it also ranks as the 12th most popular French-language film abroad over the past ten years. It will soon outscore Taxi 2, Taxi 4 and Les Choristes, thus moving up to 8th place. The film's best results come from the USA, where it currently boasts 800,000 admissions and is well on its way to crossing the million spectators mark. It has performed well in other countries, attracting 550,000 spectators in Japan, 520,000 in the UK, 510,000 in Germany, 300,000 in Spain, and 250,000 in Australia and Poland. Admissions scores top 100,000 in 13 territories to date. Its performance abroad has been exemplary, following in the footsteps of another highly successful French biopic, La Môme, which pulled in 6 million admissions. These results bode well for the upcoming release of Serge Gainsbourg: vie héroïque, about the life of the legendary singer, which is due to hit Russian screens in March 2010.

Little Nicholas has crossed the 300,000 admissions threshold in French-speaking countries, with other international territories soon to launch the film. Its best results to date come from Belgium, with over 200,000 admissions registered. The film now outshines the previous best performer in this territory, De l’autre côté du lit, which attracted 59,000 moviegoers. Swiss audiences also showed their appreciation for the film. Registering 115,000 admissions, it ranks as the top French film of the year, ahead of Coco avant Chanel (70,000 admissions). It is slated for release in Greece in December and Germany in early February.

The True Story of Puss'n Boots has made a hit in Mexico, currently tallying almost 600,000 admissions and standing out as the number 1 French film in this territory in 2009, far ahead of the number 2 performer, Igor, and its 450,000 admissions. These two films make a fine duo representing French animated productions in Mexico.
 
Don't look back has attracted 120,000 admissions in Russia. The film by Marina de Van thus ranks in 4th position for French-language films in Russia in 2009, just behind Banlieue 13 - Ultimatum (270,000 admissions), The True Story of Puss'n Boots (177,000 admissions), and Largo Winch (129,000 admissions).

Dorothy Mills, a French production shot in English, has registered close to 270,000 admissions in Mexico since its launch almost three months ago. This film's fine results can be partly explained by Mexican audiences' penchant for genre films, as highlighted by the success of Les Emmurés (103,874 admissions) and À l’intérieur (77,980 admissions). The film by Anne Merlet also won over Polish audiences, attracting 80,000 spectators. Dorothy currently boasts a running total of 345,000 admissions outside France, compared to 130,000 admissions in France.

Danse, le ballet de l'Opéra de Paris has earned fine results in the USA. Released on only one print, the film by Frederick Wiseman pulled in 6,300 spectators in its opening week and 5,400 admissions the following week, resulting in an exceptionally high per-print attendance average. The film's distributor went on to up the number of prints in circulation, and the film currently tallies 35,000 admissions.

In Russia, A Prophet registered a total of 50,000 admissions. This is a highly encouraging score in a territory in which auteur films traditionally struggle to make their mark, and inspires hope for this acclaimed film's career in the international arena. A previously successful auteur film, De battre mon coeur s’est arrêté (The Beat that My Heart Skipped), registered a total of 700,000 admissions outside France, and A Prophet may well do even better. The film has been acquired around the world, with its UK release scheduled for January 2010.

After almost three months on the screens in Germany, Louise Michel has attracted close to 52,000 spectators. This fine score was echoed in Italy, where the film registered 100,000 admissions. Louise Michel now tallies a total of just under 200,000 admissions in international theaters.

The 12th French Film Meetings in Paris
For the 12th consecutive year, Unifrance will organize the Rendez-vous avec le cinéma français in Paris January 14 through 18, 2010. To date, more than 300 distribution companies have already confirmed their presence; the number of foreign journalists attending should be well over a hundred and, we hope, many French artists will also participate at Europe's biggest press junket.

The 3rd Franco-Spanish Film Meetings in Paris
Spanish film industry professionals will gather together in Paris January 12 and 13, 2010 in order to meet their French counterparts and investigate co-production possibilities between the two countries.

2010 calendar
Unifrance will present its plan of action for 2010, along with the main directions the association wishes to give to promoting French cinema worldwide.

We wish you all a very Merry Christmas and a Happy New Year.