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International statistics

16 November 2013 à 14:47

French films at the international box office: October 2013

Box office results for French productions in the last ten months remain weak, with almost 35 million admissions registered outside France.

Rank Title Admissions B.O Revenues No. of Prints No. of Countries Total Admissions
1 The Family 1,168.933 6.296,134 3,429 13 6,735,572
2 Blue is the Warmest Color 248,934 1,739,390 280 8 248,934
3 The Volcano 125,500 970.237 66 3 126,165
4 Mood Indigo 94,619 625,868 197 9 369,699
5 The Gilded Cage 91,496 593,127 149 5 952,473
6 Paulette 71,174 459,731 163 3 706,251
7 On the Way to School 53,751 327,978 68 4 62,265
8 Bright Days Ahead 52,339 353,041 114 4 121,295
9 The Young and Prodigious T.S. Spivet 29,705 240,275 92 2 29,705
10 9 Month Stretch 28,611 239,495 28 2 28,934
11 All Together 21,795 71,232 25 1 941,004
12 Stranger by the Lake 21,351 132,692 42 4 45,048
13 Haute Cuisine 18,409 108,216 62 3 483,564
14 Camille Claudel 1915 17,489 68,456 39 4 48,564
15 Under the Rainbow 15,259 92,799 44 4 118,616
16 Vive la France 14,568 82,436 77 2 83,763
17 Fly me to the moon 14,049 60,256 46 1 840,886
18 Young & Beautiful 11,894 135,610 23 3 175,925
19 The Patience Stone 11,480 70,790 45 5 125,362
20 Michael Kohlhaas 10,712 69,511 48 2 49,95


The launch of Blue is the Warmest Color's career augurs well, despite the many restrictions the film is facing in various foreign territories. Meanwhile, The Family has registered 6.7 million admissions 7 weeks after its first releases abroad. The Volcano has passed the 100,000 spectator threshold in Belgium. Empowered by its succes in Portugal, The Gilded Cage may become the 7th French film to reach the million admission mark in 2013, and Paulette has now attracted half a million spectators in Germany. However, the two remaining months of 2013 are not likely to be enough to attain the average annual attendance figures for French productions since the beginning of 2000: 69.3 million admissions. The state of French offerings in 2013 partly explains the low results. Unlike previous years, few minority-French and/or English-language films offering a strong potential internationally have been distributed in theaters abroad. It should also be noted that several American films co-financed by French companies are not included in our figures (in the absence of an agreement between France and the United States allowing access to this information), such as Insaisissables by Louis Leterrier (co-produced by Soixan7e Quin5e), Paranoïa by Robert Luketic (co-produced by Gaumont , and American Nightmare (co-produced by Why Not Productions).

Focus on a selection of French majority films that stood out in October, 2013

Malavita pursues its international career launched last month. In the USA and English-speaking Canada, the film has now garnered $36.5 million in revenues for 4.5 million admissions. In its 7th week, the film is still out in 218 prints but has generated only $134,000 (being about 17,000 admissions). It is now entering the end phase of its career, which should settle at about $37 million in revenues in these markets. In Russia, the film has remained among the Top 20 at the box office for five weeks, attracting about 900,000 admissions. At the end of its 2nd week on screens in Italy, the film has already attracted 228,000 spectators for a maximum run of 275 prints. Outdistancing the performances registered in 2013 by Asterix and Obelix: God Save Britannia (200,000 admissions). In Mexico (Swen Entertainment), the film has succeeded in gathering together 240,000 spectators after only two weeks in theaters. It may reach 300,000 admissions by the end of its Mexican career, a performance comparable with that of titles such as The Transporter (released in 2000) or Belphegor, Phantom of the Louvre (released in 2003). In Brazil, the film has appealed to 143,000 spectators in 4 weeks and should end its career nearing the performances of earlier EuropaCorp productions, such as Transporter 3 (164,000 admissions in 2008) and Arthur and the Invisibles (166,000 admissions in 2007). Elsewhere, the film has attracted nearly 50,000 spectators in Hungary, Bulgaria, and Indonesia. Opening weekend results in Australia have proved rather disappointing, with 40,000 spectators for 159 prints.

The Family has currently accumulated 6.7 million admissions abroad.

Blue is the Warmest Color has got off to a grand start in foreign theaters. After successfully launching its international career in Benelux, the 2013 Palme d’or winner has clocked up fine results in Italy and the United States. Its performances in Belgium and the The Netherlands are almost identical, with 36,000 spectators registered in each of these territories after 3 weeks in theaters. Released simultaneously in French-speaking territories, the film has again performed highly satisfactorily, with 15,000 spectators in French-speaking Switzerland and 25,000  spectators in Quebec. 

Blue is the Warmest Color also boasts excellent performances in its first week on Italian screens, with 98,000 spectators for 143 prints. These early, highly encouraging results confirm the particular interest the Italian public has shown for Abdellatif Kechiche's films. Most of his earlier productions have registered their highest international attendance figures in Italian theaters from Poetical Refugee in 2000 up until Black Venus in 2010, and not forgetting  Games of Love and Chance in 2003. 

Across the Atlantic, expectations are high for Blue is the Warmest Color, alias Blue Is the Warmest Color. Distributed in only 4 prints by IFC Films, the film displayed the best average per print at the US box office in the week of its release, with $39,000 garnered per print, for a total of $157,000 (being 19,000 spectators or thereabouts). This initial limited release will be considerably increased as of next week.

Blue is the Warmest Color currently totals almost 250,000 admissions in international theaters.


The Volcano converts a try in Belgium by achieving the best French performance in 2013 with 104,000 admissions tallied in 4 weeks. It hence supplants the attendance figures of Billy and Buddy, which, until now, was the only French film to have crossed the 100,000 Belgian spectators' threshold since the beginning of the year.

Dany Boon's popularity with the Belgian public would seem to be intact. Since 2008, and the record attendance figures boasted by the unmissable Welcome to the Land of Ch'tis (1.1 million admissions), 4 of the 6 subsequent films featuring the actor have attracted more than 100,000 admissions in Beligan theaters: Changing Sides (159,000 admissions) in 2009, Nothing to Declare (948 000 admissions) in 2011, Fly me to the moon (101 000 admissions), and Asterix and Obelix: God Save Britannia (302 000 admissions) in 2012. 

Also out on release in French-speaking Switzerland, The Volcano has thus far achieved a more modest performance with 21,000 admissions for a maximum of 17 prints in 4 weeks. It has thus become the 8th French film to draw in more than 20,000 spectators in this territory in 2013.

The Volcano has thus far registered 126,000 admissions in international theaters.

Stranger by the Lake seems to have piqued the Italian (Teodora Film) public's curiosity, with 26,000 admissions in 5 weeks for a maximum of 19 prints. Alain Guiraudie's film, which was awarded the Directing Prize of Un Certain Regard at Cannes this year, has met with a muted but totally honorable reception in the German (13,000 admissions in 5 weeks) and Switzerland (4,600 admissions in 8 weeks) markets. The film is slated for release in many territories throughout the world in the months ahead, in particular the United States and English-speaking Canada, along with Brazil, Australia, and Israel.

The Patience Stone continues its international career, with a total of 125,000 admissions registered so far beyond France's borders. This is a fine performance, particularly in Italian theaters, where the film has pulled in 64,000 spectators, overtaking the results of such other 2013 releases as Seigneurs (63,000 admissions), Under the Rainbow (60,000 admissions), and Paulette (56,000 admissions). Released on 32 prints during its opening week in Spain (Golem Distribución), the film now tallies 21,000 spectators after 8 weeks. Meanwhile, the response has been more reserved in Belgium (5,400 admissions in 7 weeks), the United States and Canada ($100,000 in box office revenues, being 13,000 admissions in 11 weeks), and in Germany (5,500 admissions recorded at the end of its 3rd week in theaters).

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Latest update : 15 April 2015 à 14:47 CEST

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