Nearly 3 weeks before its French premiere, Shut In, the new thriller from EuropaCorp, coproduced by Transfilm International (Canada) and directed by Farren Blackburn, was sold to 12 international markets during the month of November. In the USA, the film released on more than 2,000 screens and generated 6.7 million dollars in revenues (around 800,000 admissions). From its opening week, Shut In climbed to 7th place at the box office, behind six local blockbusters, and established itself as the best French film of the year in this territory, far ahead of Agnus Dei / The Innocents (126,000 spectators). While still on the American continent, the film also did well in Mexican theaters in November. Given a large scale release on 554 screens, Shut In has already tallied more than 340,000 admissions, being 6 times more than in France during the week of its release (57,000 spectators for 175 prints). Carried along by this result, the film rose to 4th place at the Mexican box office in its first week and claimed 1st place at the box office for French films in the territory since the beginning of the year. The same success can be noted in Peru (36,000 admissions in 48 theaters) and in Bolivia (5,000 admissions for 7 prints), where Shut In has not only reached the local Top 10, but has also established itself as the best result of the year for a French film in both territories. At the same time, we should also note, the film's laudable launches in Hong Kong (17,000 admissions), in Poland (16,000), in Romania (14,000), and in Portugal (10,000). After 3 weeks in theaters, Shut In has clocked up more than 1.2 million admissions, and will soon release in Switzerland and Belgium.
Ellecontinued to attract spectators outside France in November. In Quebec, the film, released on a dozen screens, has taken in nearly 78,000 Canadian dollars in box office revenues, being around 9,000 admissions. This result allowed Paul Verhoeven's film to claim 1st place in the opening week of its release for a non-American, foreign film at the local box office. At the same time, in Brazilian theaters, Elle drew in nearly 20,000 spectators for thirty prints, and obtained a better average than Monsieur Chocolat in its opening week (14,000 admissions for 55 prints), currently at the top of French results in the territory for 2016 (40,000 total admissions). Also released in the USA, Elle's print run rose to 9 in its second week in theaters, making a total of 35 screens. This choice was rewarded a few months out from the Oscars, as the film that will represent France has registered more than 427,000 US dollars in revenues, being around 54,000 admissions. This score is even more notable given that the film did not benefit from the promotion campaign organized by the EFP, from October 24 through November 6, during which 26 European films in the running for the 2017 Oscar for Best Foreign Language Film were screened at the Wilshire Screening Room in Beverly Hills. Last but not least, Elle also stood out at the Portuguese box office this month, with nearly 9,000 spectators for 9 screens. Nearly 8 months after its first international release, to date Elle has attracted 440,000 admissions in a dozen territories, of which 141,000 in Spain and 105,000 in the The Netherlands. The film will soon release in Sweden, Germany, and the United Kingdom.
The highest grossing release ever recorded for a French-lanuage film in China, The New Adventures of Aladdin by Arthur Benzaquen obtained 10.3% of national screens on its opening day, being nearly 4,000 screens. With an average rate of 9.7% theater fill rate by its first weekend, the film recorded 2.3 million euros in revenues ten days after it opened (being more than 600,000 admissions). This is an honorable score, particularly in view of the performances of the 2 other (and only) French films released in the territory since the beginning of the year – Colt 45 (6,000 admissions) and Seasons (143,000 admissions). However, it is not on par with its ambitions, especially since the film ceased showing in theaters two weeks after its release. In the past five years, the only French-language comedy to have managed to appeal to Chinese audiences was Fly Me to the Moon by Pascal Chaumeil, starring Dany Boon and Diane Kruger, which crossed the threshold of 1 million admissions. Otherwise, the animation genre dominates, with the incredible success of Petit Prince (5 million admissions) and, to a lesser degree, that of Minuscule: Valley of the Lost Ants (810,000 admissions). These results nevertheless lag far behind the 7 million admissions for Lucy, but should be reinforced in the years to come with the official launch of a network of arthouse cinema theaters in China. Established by the state-run China Film Archive, to date the network consists of 100 screens, spread out across forty cities, and aims to show 100 films per month, 30 of which are foreign. This news gives new hope for the distribution of arthouse films.