In June, a French drama mobilized audiences in Hong Kong and Italy, while a thriller hit screens in Japan and another drama benefited from the reactivation of theaters in the Netherlands.
| # | Title | Admissions | Box Office Revenues (€) | No. of Prints | No. of Countries | Total Admissions |
| 1 | Les Misérables | 45,611 | 286,049 | 102 | 4 | 572 613 |
| 2 | Anna | 40,644 | 445,255 | 54 | 1 | 4,580,563 |
| 3 | The Truth | 32,290 | 290,290 | 107 | 7 | 607,230 |
| 4 | La Belle Epoque | 20,378 | 122,922 | 247 | 6 | 864,134 |
| 5 | The Translators | 19,553 | 122,749 | 47 | 2 | 198,244 |
| 6 | The Professional | 11,923 | 53,717 | 130 | 1 | 15,039,826 |
| 7 | Cuban Network | 7,190 | 50,330 | 12 | 1 | 43,735 |
| 8 | Portrait of a Lady on Fire | 6,966 | 36,160 | 81 | 9 | 1,393,378 |
| 9 | Capital in the Twenty-First Century | 6,766 | 75,917 | 48 | 1 | 39,338 |
| 10 | How to be a Good Wife | 6,602 | 78,149 | 33 | 2 | 7,910 |
| 11 | Proxima | 6,478 | 59,311 | 53 | 2 | 44,452 |
| 12 | Marona's Fantastic Tale | 5,472 | 38,101 | 54 | 2 | 13,310 |
| 13 | Damage | 4,822 | 32,122 | 24 | 1 | 2,198,093 |
| 14 | SamSam | 4,126 | 40,101 | 165 | 4 | 13,323 |
| 15 | Arab Blues | 4,030 | 39,744 | 47 | 4 | 22,367 |
| 16 | Someone, Somewhere | 3,800 | 26,542 | 10 | 2 | 125,778 |
| 17 | It Must Be Heaven | 3,075 | 32,951 | 26 | 5 | 165,768 |
| 18 | The Fool | 2,737 | 16,422 | 18 | 1 | 28,557 |
| 19 | Fahim, the Little Chess Prince | 2,674 | 16,244 | 17 | 3 | 162,320 |
| 20 | An Officer and a Spy | 2,605 | 17,917 | 35 | 7 | 1,366,765 |
The month of June saw French cinema registering a total of 301,000 admissions in international theaters (€2.32 million in box office receipts) thanks to the performance of around 100 films in a range of genres. Majority-French productions accounted for 95% of the overall figure (265,000 tickets sold, taking €2.08 million). The monthly average for admissions in June almost doubled that of May, when French films attracted 174,000 foreign spectators, although the figure is well below that of June 2019, when over 3.3 million spectators were registered. This rise over last month was largely due to the gradual reopening of theaters across five continents, and was bolstered by particularly strong performances by three titles.
Les Misérables climbed two places in our monthly chart in June, and took the top spot for the first time. This film is currently continuing a triumphant run in Hong Kong: one month into its release, it is still holding strong in the country's Top 5 titles, credited with 60,000 admissions (€405,000). It thus outshines the performance of the hit film The Artist in this market (2012, 48,500 admissions and €335,500), and now ranks as the most successful French production shot in French in this market since 2012! Les Misérables also jumped to number 1 in Italy in the first week of the reopening of theaters, and remained there until the end of June. With a total of 11,000 tickets sold (€61,000), it boasts the highest score of all titles released since mid-June. The release of this film by Ladj Ly in Italy was originally scheduled for March 12, but this was cancelled and a VOD release offered in its place to coincide with the launch of the MioCinema platform mid-May. Since November 2019, Les Misérables has registered 573,000 admissions in international theaters (taking €4 million) and is soon to be released in Australia, New Zealand, and the United Kingdom.
French cinema's most successful title of 2019, Anna (with 4.58 million admissions registered and box office takings of €24.4 million), has made a comeback in our Top 20 chart this month thanks to its release in Japan. After several delays in its release date, Luc Besson's latest film finally hit Japanese screens on June 5 at around fifty sites. By the end of the month, more than 40,000 moviegoers had seen the film, with €445,000 registered in ticket sales. In its opening week, Anna posted an average of just under 300 spectators per theater, which was the second highest average of the week, during which the majority of titles released did not achieve higher than 100 spectators per theater. Furthermore, eight of the other titles in the national Top 10 for the week benefited from a wide release, in 100, 200, and, in some cases, 300 sites. One month after its launch, Anna is still showing in fifty theaters in Japan, and ranks as the second best-performing French film in this market in 2020, after The Translators (53,000 admissions and €593,000) but ahead of The Best Years of a Life (36,000 admissions and €376,000).
Despite the Dutch theatrical market having suffered the same difficulties as other foreign markets for French films, one of the French titles released in June stands out for its impressive debut. In its opening week, La Vérité jumped to 4th place in the local charts, taking €106,000 (representing over 11,000 admissions) and achieving the highest per-theater average (€1,900, representing over 200 admissions). The film has proved its staying power, with the largest number of prints in circulation registered at the end of the month (54 sites). By the beginning of July, it had reached over €300,000 in ticket sales and tallied 30,000 admissions, now standing as the second most-seen film in the Netherlands of all titles released after the reopening of theaters. To date, La Vérité has clocked up a total of 611,000 in theaters outside France (taking €4.86 million) and is scheduled for upcoming release in Hungary, Norway, Portugal, and Thailand.
This report is based on results recorded on July 10, 2020. As the figures relating to film releases are continuously updated, the graphics generated automatically on our website will differ from the chart featured in this article.
