Foreign markets were dominated in November by the continuation of Blue is the Warmest Color's international run and the release of Venus in Fur.
| Rank | Title | Admissions | B. O. Revenues | No. of Prints | No. of Countries | Total Admissions |
| 1 | The Family | 574,976 | 3,799,192 | 1,436 | 17 | 7,954,498 |
| 2 | Blue is the Warmest Color | 468,230 | 3,054,770 | 479 | 12 | 879,178 |
| 3 | Venus in Fur | 338,357 | 1,865,715 | 424 | 9 | 363,878 |
| 4 | Caught in Flight | 124,299 | 857,019 | 638 | 8 | 704,529 |
| 5 | Young & Beautiful | 114,386 | 759,598 | 213 | 5 | 310,686 |
| 6 | Solitaire | 103,174 | 685,131 | 205 | 3 | 115,009 |
| 7 | The Great Beauty | 92,936 | 649,555 | 69 | 6 | 393,003 |
| 8 | The Lunchbox | 85,867 | 692,572 | 99 | 3 | 118,991 |
| 9 | The Past | 69,364 | 423,154 | 89 | 2 | 177,301 |
| 10 | On the Way to School | 58,534 | 315,553 | 86 | 5 | 136,745 |
| 11 | Fly me to the moon | 53,540 | 228,416 | 2 | 1,896,825 | |
| 12 | Au bonheur des ogres | 50,361 | 305,107 | 110 | 2 | 53,876 |
| 13 | On My Way | 38,957 | 294,001 | 61 | 5 | 72,589 |
| 14 | Quai d'Orsay | 36,767 | 309,128 | 24 | 2 | 37,046 |
| 15 | Paulette | 34,096 | 204,209 | 108 | 3 | 74,795 |
| 16 | Me, Myself and Mum | 32,725 | 297,698 | 60 | 2 | 41,757 |
| 17 | Vive la France | 26,416 | 150,811 | 232 | 4 | 111,515 |
| 18 | The Volcano | 25,412 | 191,135 | 37 | 2 | 171,320 |
| 19 | A Castle in Italy | 23,804 | 157,904 | 61 | 3 | 56,526 |
| 20 | Bright Days Ahead | 22,787 | 153,415 | 86 | 4 | 168,753 |
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The excellent performance of Blue is the Warmest Color by Abdellatif Kechiche in the USA (with currently over 225,000 admissions to its credit and box office revenues exceeding $1.8 million) places it as the second most successful French film in this market in 2013 (after Renoir), and its run is by no means over. It has also delivered impressive results in Italy, where is has clocked up 243,000 admissions and stands out as the most-seen French-language film of the year, outscoring Asterix and Obelix: God Save Britannia by 50,000 admissions. It is a similar scenario in the United Kingdom, where its performance has well and truly matched its distributor's expectations (75,000 admissions).
At the end of November, Blue is the Warmest Color posted close to 900,000 admissions in international theaters.
Venus in Fur is enjoying a successful run in Poland, where it has currently attracted over 100,000 spectators. In Italy, Roman Polanski's film has achieved close to 180,000 admissions after four weeks. While this performance is lower than that of the Franco-Polish director's recent films (The Ghost Writer and Carnage both surpassed 600,000 spectators), it nonetheless maintains the distinctive aura of Polanski's work. The film's score is weaker in Germany, with 45,000 spectators registered. By the end of November, total admissions for Venus in Fur outside France reached a total of just over 350,000.
After a well-documented triumph earlier in its international run (with 750,000 admissions in Portugal, ranking as one of the year's hit titles and the most successful French film of all time in Portugal), The Gilded Cage continues its adventure, now in Australia, where it registered AUD$80,000 (around 10,000 admissions) on its opening weekend. This is an encouraging debut in this festive season, a crucial period for the local box office, in which very few European films grace the screens this year.
Young & Beautiful has put in a low-key performance in Germany, with just over 42,000 admissions to its credit after four weeks, spread across a maximum of 79 theaters. In comparison to the German performance of other films directed by François Ozon, these results fall short of those of In the House (70,000 admissions) and, particularly, Potiche (436,000 admissions). It has achieved a comparable score in Italy, with 64,000 admissions to date, and in the United Kingdom, with 21,000 admissions.
Quai d'Orsay has kicked off its international career in French-speaking countries with great gusto. Its 10,000 admissions score in French-speaking Switzerland has allowed it to outshine the performance of all previous films by Bertrand Tavernier. Its success is even more striking in Belgium, where it has attracted over 27,000 spectators in five weeks, compared to 10,000 registered by The Princess of Montpensier and 8,700 by Holy Lola.
Me, Myself and Mum has made an excellent debut in French-speaking Switzerland. Amassing 7,500 admissions in its opening week, the comedy by Guillaume Gallienne boasts the most successful opening for a French film in this market this year, ahead of Serial Teachers (53,000 admissions at the end of its run) and Billy and Buddy (39,000 admissions). It also enjoyed a strong opening week in Belgium, tallying 16,000 admissions, ranking as the 5th highest opening week score for a French film in this territory in 2013.
And finally, The Past continues its career in Italy with good results, with admissions dropping back by only 19% in its second week. Currently totaling 76,000 admissions, the film by Asghar Farhadi has certainly managed to find its audience. It has posted an excellent opening week in Finland, registering just under 4,000 admissions. This ranks as the second highest opening week score for a French-language film in Finland in 2013, after Love (which attracted a total of 30,000 spectators).
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