In September, a science fiction film continued to attract audiences abroad, an animated feature appealed to Russian spectators, while an action film launched in Japan.
| # | Title | No. of Admissions | Box Office Revenues (€) | No. of Prints | No. of Countries | Total Admissions |
| 1 | Valerian and the City of a Thousand Planets | 2,542,748 | 13,006,653 | 3,681 | 35 | 27,886,403 |
| 2 | The Jungle Bunch (The Movie) | 406,514 | 1,807,036 | 1,847 | 8 | 501,051 |
| 3 | Overdrive | 223,116 | 1,743,190 | 481 | 8 | 941,019 |
| 4 | Renegades | 145,746 | 724,996 | 289 | 6 | 145,746 |
| 5 | Amant double | 109,698 | 578,914 | 259 | 7 | 243,266 |
| 6 | Back to Burgundy | 62,345 | 497,311 | 209 | 8 | 244,370 |
| 7 | À bras ouverts | 59,340 | 470,538 | 275 | 6 | 317,507 |
| 8 | The Insult | 57,456 | 413,683 | 18 | 1 | 57,456 |
| 9 | Two is a Family | 52,431 | 421,319 | 225 | 10 | 4,865,354 |
| 10 | Just to Be Sure | 49,867 | 367,411 | 62 | 3 | 49,867 |
| 11 | Alibi.com | 48,007 | 301,826 | 190 | 5 | 338,935 |
| 12 | Madame | 44,388 | 275,746 | 209 | 2 | 65,306 |
| 13 | Rodin | 41,031 | 281,489 | 185 | 4 | 62,580 |
| 14 | In Bed with Victoria | 38,381 | 240,251 | 47 | 2 | 120,171 |
| 15 | The Midwife | 36,064 | 260,115 | 192 | 11 | 322,102 |
| 16 | Lost in Paris | 34,711 | 236,364 | 107 | 6 | 210,367 |
| 17 | The Odyssey | 32,580 | 207,649 | 131 | 2 | 433,488 |
| 18 | The History of Love | 26,450 | 144,649 | 140 | 4 | 63,344 |
| 19 | Kalinka | 25,026 | 70,293 | 77 | 3 | 216,358 |
| 20 | Cézanne and I | 21,489 | 176,031 | 30 | 2 | 251,380 |
Although this month's results are largely inferior to those of August, Valerian and the City of a Thousand Planets dominated the monthly rankings for the third consecutive time. Asia is the zone responsible for the major part of this score: on the one hand, 753,000 additional Chinese spectators allowed the film to attain the record figure of 11.6 million tickets sold in this country (around €56.9 million in box office revenues); on the other, there was the launch in South Korea. Present on 629 screens, the film had been seen by 393,000 spectators seven days into its release, for a total of 509,000 at the end of the third week (€2.82 million in box office revenues). Apart from a few exceptions, the South Korean performance followed the global trend, because Valerian has not achieved the same score as Luc Besson's previous film Lucy (1.97 million admissions and €12.3 million in total box office revenues). This same tendency is found in Italy, where Valerian attracted only 184,000 spectators during its opening week. In this case, the film had to contend with a market that had dropped by 14% compared with 2016 and that was saturated by too many releases concentrated in the post-summer break period. Valerian has drawn in 27.9 million spectators and accumulated €154 million in revenues internationally.
The Jungle Bunch (The Movie) climbed nine places to reach second position, bolstered by 406,500 spectators charmed during September in eight territories. This score is notably carried along by the film's Russian performance, with its tally of 268,500 admissions sold in three weeks with a vast run of 1,220 prints throughout the Commonwealth of Independent States (€787,000 in total box office revenues). Also released on 508 screens in the United Kingdom, The Jungle Bunch generated £776,500 in box office revenues, corresponding to around 106,000 admissions. In both countries, the two distributors who had previously released Leap (1.16 million admissions in Russia and 651,000 in the United Kingdom) and who had employed a similar release strategy, did not achieve the same success with this latest film. The Jungle Bunch's international career is only just beginning; the film will be released in several territories in the coming months.
Overdrive completes the picture. The title dropped down a place with regard to August, but achieved its best results in Japan and Italy. Released on 178 Japanese screens, the action film garnered 79,000 spectators and around €787,000 in box office revenues. This performance falls short of expectations (in comparison, the third part of Transporteur started with 275,500 spectators and 166 cinemas, and accumulated 530,000 admissions at the end of its run). However, Overdrive confirms itself as the majority French production that has tallied the highest number of admissions recorded by UniFrance in this territory in 2017. In Italy, continuing its strong release pattern, the film generated 112,000 additional admissions, allowing it to have a total of 204,000 to date.
Outside the Top 3, we should note The Insult, which has caused a senstation in Lebanon. While French spectators must continue to wait before discovering it, the film by Ziad Doueiri has already charmed 57,500 Lebanese spectators and remains at the top of the local rankings after three weeks in theaters, with a fine run of eighteen prints.The Insult is the French production that has generated the highest number of admissions in Lebanon in 2017 and the sixth most successful title ever recorded in the territory by UniFrance.
