In February, two French comedies dominated the European markets, while a drama and a documentary crossed a symbolic threshold in the United States.
In February, 1 majority French production garnered more than 500,000 admissions abroad.
| # | Title | Admissions | Box Office Revenues (€) | No. of Prints | No. of Countries | Total admissions |
| 1 | Two is a Family | 544,607 | 4,138,017 | 749 | 8 | 2,136,018 |
| 2 | Elle | 230,420 | 1,632,707 | 398 | 17 | 956,206 |
| 3 | R.A.I.D. Special Unit | 222,232 | 1,819,071 | 60 | 2 | 222,232 |
| 4 | The Red Turtle | 83,051 | 603,078 | 261 | 5 | 317,052 |
| 5 | Penny Pincher! | 75,946 | 476,485 | 122 | 2 | 511,238 |
| 6 | Family Heist | 69,284 | 262,281 | 585 | 1 | 145,930 |
| 7 | The Roommates Party | 44,133 | 328,979 | 75 | 2 | 129,632 |
| 8 | A Bag of Marbles | 37,747 | 285,529 | 54 | 2 | 65,112 |
| 9 | 150 Milligrams | 31,310 | 174,350 | 61 | 1 | 49,945 |
| 10 | Rock'n Roll | 30,972 | 273,498 | 43 | 2 | 30,972 |
| 11 | Alibi.com | 25,913 | 252,141 | 37 | 2 | 25,913 |
| 12 | Dalida | 20,241 | 161,733 | 30 | 3 | 54,692 |
| 13 | Miss Sloane | 20,023 | 168,528 | 33 | 3 | 452,339 |
| 14 | Irreplaceable | 18,900 | 95,032 | 34 | 4 | 620,457 |
| 15 | Slack Bay | 18,267 | 133,711 | 85 | 4 | 118,651 |
| 16 | Personal Shopper | 15,733 | 104,616 | 125 | 3 | 31,107 |
| 17 | Alone | 14,519 | 113,574 | 5 | 2 | 14,519 |
| 18 | Fanny's Journey | 13,765 | 56,438 | 46 | 2 | 103,958 |
| 19 | Frantz | 13,502 | 76,724 | 59 | 3 | 467,374 |
| 20 | He Even Has Your Eyes | 12,071 | 116,796 | 29 | 3 | 33,966 |
Two is a Family continued to stand out on the European markets during the month of February. Released at the beginning of January in Germany, six weeks into its run, Hugo Gélin's film remained among the local top 15 titles, attracting an additional 50,000 spectators across 352 screens, tallying 920,000 total admissions and €7.5 million in box office revenues. Released at the same time in Austria, Two is a Family held on to the ninth place at the box office, with 151,000 total admissions and €1.3 million in box office revenues. In both these territories, the comedy has emerged as the greatest French-language success since Serial (Bad) Weddings, which released mid-2014. Also in theaters in the The Netherlands during February, Two is a Family achieved the 5th best result of the week, generating more than €338,000 in box office revenues (approximately 41,000 admissions) for its 3rd week on release (254,000 admissions / €2 million total BO). To date, the film has accumulated more than 2 million admissions abroad (€16 million total BO), of which 387,000 were in Russia and 318,000 in Belgium.
Elle got off to a fine start in Mexican theaters in February. Attracting 28,000 spectators across 34 screens, the film achieved its opening week's best average per print for a non-American foreign film, and to date has accumulated more than 50,000 amissions in the territory. Elle also continued to shine in the USA and crossed the symbolic threshold of $2 million at the box office 14 weeks into its run (being approximately 271,000 admissions to date). Paul Verhoeven's drama has hence become the first French-language film to attain this score in the territory since Love ($6.7 million), Renoir ($2.3 million), and Blue is the Warmest Color ($2.2 million), which all released in 2013. Less than a year after its first international release, Elle has to date accumulated 1 million admissions and €7 million in box office revenues in 27 foreign markets, including 146,000 in Spain (€0.9 million), 122,000 in Germany (€0.9 million), and 105,000 in the The Netherlands (€0.8 million).
February witnessed R.A.I.D. Special Unit blazing onto the French language markets. Distributed in 40 Belgian and Luxembourg theaters, the latest film by Dany Boon scooped up nearly €477,000 in box office revenues during its opening week, being around 68,000 admissions. Riding on this result, the comedy rose to 2nd place on the weekly rankings, with by far the week's best average per screen (€11.900). This is an encouraging score for its distributor, similar to the director's earlier Penny Pincher!, which released last September (€0.4 in box office revenues from 37 prints in its opening week), but nevertheless lagging behind the launch results achieved by Superchondriac in 2014 (€0.8 million in box office revenues from 43 prints) and Nothing to Declare in 2011 (€1.6 million from 56 prints). Also released in French-speaking Switzerland this week, R.A.I.D Special Unit met with the same success and recorded the 2nd best result of the week, with nearly 15,000 spectators across 20 screens (Pathé – €0.2 million in box office revenues). To date, the film has garnered 230,000 admissions in Benelux (€1.6 million in box office revenues), and 43.000 admissions in French-speaking Switzerland (€0.6 million).
We should also note the extraordinary performance of the documentary I Am Not Your Negro by Raoul Peck in the USA, which has tallied more than $5 million at the box office after 4 weeks on release (approximately 600,000 admissions)! This is an amazing feat for a French documentary, and the best achievement since 2010, marked by the triple French-language successes of Oceans ($19.4 million / 2.5 million admissions), Babies ($7.3 million / 0.9 million admissions), and Océanosaures 3D ($6 million / 0.8 million admissions).
