French films scored at the international box office in May. Several new titles had successful releases, while other films successfully pursued their runs in new territories.
| Rank | Title | Admissions | B.O. Revenues | No. of Prints | No. of Countries | Total Admissions |
| 1 | Grace of Monaco | 866,735 | 5,148,982 | 1,806 | 15 | 866,735 |
| 2 | Serial (Bad) Weddings | 232,180 | 2,049,672 | 55 | 2 | 348,009 |
| 3 | Chinese Puzzle | 185,184 | 1,207,922 | 233 | 7 | 363,077 |
| 4 | The Volcano | 167,313 | 650,206 | 202 | 2 | 339,582 |
| 5 | Beauty and the Beast | 155,140 | 1,146,442 | 384 | 8 | 2,016,793 |
| 6 | Minuscule: Valley of the Lost Ants | 99,275 | 385,608 | 657 | 3 | 592,380 |
| 7 | Yves Saint Laurent | 75,260 | 567,579 | 220 | 8 | 513,526 |
| 8 | Zulu | 72,560 | 512,594 | 161 | 3 | 84,881 |
| 9 | The Yellow Eyes of the Crocodiles | 69,152 | 465,979 | 118 | 3 | 104,554 |
| 10 | Barbecue | 59,311 | 499,061 | 44 | 2 | 59,311 |
| 11 | Superchondriac | 43,042 | 373,285 | 194 | 7 | 885,795 |
| 12 | Amazonia | 28,032 | 149,301 | 200 | 5 | 80,450 |
| 13 | Paris à tout prix | 27,685 | 166,256 | 90 | 1 | 71,928 |
| 14 | Not My Type | 27,681 | 210,188 | 25 | 2 | 27,681 |
| 15 | Haute Cuisine | 25,779 | 81,007 | 32 | 1 | 729,282 |
| 16 | Venus in Fur | 23,784 | 135,651 | 177 | 3 | 545,108 |
| 17 | Cycling with Moliere | 23,217 | 142,223 | 82 | 6 | 381,917 |
| 18 | A Castle in Italy | 16,696 | 135,455 | 44 | 3 | 95,497 |
| 19 | Before the Winter Chill | 16,109 | 119,959 | 40 | 2 | 76,078 |
| 20 | The Past | 15,631 | 92,832 | 65 | 8 | 722,628 |
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In May, 2014, five majority French films registered more than 100,000 admissions in foreign theaters, among which a new title, Grace of Monaco, the opening film at the Cannes International Film Festival - 2014, released in 15 territories and with nearly a million spectators to its credit by the end of May.
Serial (Bad) Weddings confirmed its excellent results in French-speaking European markets. Meanwhile, Chinese Puzzle, launched well in the USA and Beauty and the Beast by Christophe Gans crossed the 2 million spectator threshold.
Spotlight on a selection of standout majority French film titles in May 2014
Grace of Monaco began its international career in 15 foreign territories and got off to a particularly fine start in Italy (Lucky Red) by attracting 200,000 spectators fom 407 prints, the highest number of prints for an opening week since Asterix and Obelix: God Save Britannia, released by the same distributor in 2013. With 328,000 admissions in Italy at the end of May, the opening film of the 67th Cannes Film Fesival thus attained the 3rd best admissions record of the year for a majority French film in Italian theaters, following in the footsteps of the success of Belle and Sébastien (Notorious Pictures – 1.2 million admissions) and Beauty and the Beast (Notorious Pictures – 790 000 admissions). Grace of Monaco also tallied 174,000 admissions during its opening week in Russia (Universal Pictures International UPI (Russie)) from a similar number of prints (394). In Spain (Tripictures), the film rose to 4th position at the local box office with 50,000 admissions registered from 244 prints, the most extensive print run for a French film during its opening week. Grace of Monaco had accumulated 867,000 admissions at the end of May.
After a successful release in Germany (STUDIOCANAL (Deutschland) – 80,000 admissions after 5 weeks in the theaters) and in Quebec (Les Films Séville – 42,000 admissions since the end of April), Chinese Puzzle firmly launched its career in the USA and English-speaking Canada. The film scored the 3rd best average per print in this territory, with more than $36,000 from only two prints (being about 4,500 admissions). With prints increased to a number of 10, the film confirmed its place with $68,000 of additional box office revenues (about 8,500 admissions). In Spain (A Contracorriente Films), with more than 25,000 admissions from 78 prints, Cédric Klapisch's film achieved the 3rd best opening week average per print in this territory. Earlier in the year, his film carried off a fine perfomance in Lebanon (SR&CO) by attracting more than 3,200 admissions in 5 theaters, despite its R18 rating. At the end of May, Chinese Puzzle had accumulated 363,000 admissions in 15 international territories.
Serial (Bad) Weddings maintained its very high admissions' level in French-speaking European markets, by keeping the best spectator average per print a month after its release. In Belgium (Cinéart ), the film tallied more than 200,000 spectators after 6 weeks in theaters, thereby overtaking the results of The Volcano (Alternative Films – 145,000 admissions in 2013). In French-speaking Switzerland (Frenetic Films), the film had attracted 100,000 spectators at the end of May, of which almost 17,000 in its 6th week from 16 prints (increased from the initial 11). The film outshines the performances of Asterix and Obelix: God Save Britannia (Frenetic Films – 85,000 admissions in 2013), and will soon overtake those of Superchondriac (Pathé Films AG – 103,000 admissions, and Houba! On the Trail of the Marsupilami (Pathé Films AG – 119,000 admissions). With a total of 340,000 spectators in these 2 territories at the end of May, Serial (Bad) Weddings is now awaited in Germany (Neue Visionen Filmverleih) and the The Netherlands (Cinéart Nederland) in the upcoming weeks.
Superchondriac approached the end of its run in European markets, where it has reinforced its very fine performances. The film has passed the threshold of 300,000 admissions in Belgium (Alternative Films), a level that only The Intouchables (Vertigo Films Distribution – 962,000 admissions) and Nothing to Declare (Alternative Films – 948,000 admissions) have passed on this territory since 2011. In Germany (Prokino Filmverleih), Dany Boon's film had gathered together 237,000 spectators by the end of May, after 8 weeks in theaters, being the country's best admissions figure for a French-language film since the beginning of the year. The same results are noted in French-speaking Switzerland (Pathé Films AG), where Superchondriac garnered 100,000 admissions after 10 weeks out on release. The film will not however overtake the performances of Houba! On the Trail of the Marsupilami in 2012 (Pathé Films AG – 119,000 admissions), but has nevertheless achieved the 4th best performance for a French film since 2011, behind The Intouchables (Frenetic Films – 505,000 admissions) and Nothing to Declare (Pathé Films AG – 202,000 admissions). Superchondriac had racked up 886,000 admissions in 9 international territories at the end of May, of which 144,000 were in Italy (Eagle Pictures), and 52,000 were in Austria (Luna Filmverleih).
More than a year and a half after its release in foreign theaters, Haute Cuisine continued its career in May in Mexico (Nueva Era Films), where the film attracted nearly 15,000 spectators from 32 prints during its opening week (26,000 admissions at the end of May). A good performance in a territory where several French-language films have played well since the beginning of the year, for example, Renoir (Nueva Era Films – 58,000 admissions), Blue is the Warmest Color (Mantarraya Producciones – 50,000 admissions), and Mood Indigo (Cine Caníbal – 45,000 admissions). After attracting a total of 117,000 spectators in Japan (Gaga Corporation), 94,000 in Spain (Golem Distribución), and 45,000 in Israel (Orlando Films), Haute Cuisine has scored a total of 729,000 admissions in 28 foreign territories since 2012.
French comedies confirm their good state of health in French-speaking European markets in 2014. After the excellent performances of Serial (Bad) Weddings in Belgium (Cinéart ) and in French-speaking Switzerland (Frenetic Films), Barbecue, distributed by the same companies, also got off to a fine start in these territories, with the 4th best per print average in Belgian theaters (Cinéart – 18,000 admissions from 28 prints), and the 3rd in French-speaking Switzerland (Frenetic Films – 6,000 admissions from 9 prints). The film had accumulated 59,000 admissions at the end of May. Since the beginning of the year, comedies fill more than half of the top 10 rankings for French films in these two territories.
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