After a first report in 2021 focused on five countries (Germany, Spain, USA, Italy, and the United Kingdom) the 2022 edition enriches the analysis by adding Australia, Canada, Mexico, Poland, and Sweden - a total of ten countries among the fourteen now studied, in partnership with MediaLogiq.
This new reference tool published by Unifrance sheds qualitative light on the vitality of French audiovisual creation worldwide, and should be correlated with the study we publish in September with the CNC on international sales of audiovisual programs. In 2022, these sales set a new all-time record, topping €200 million for only the second time, at €217 million (+17% on 2021, and +6% on the previous record set in 2017). This result is due in part to the increase in pre-sales and co-productions observed in 2021.
This 2022 report shows that French programs are often in first position, in terms of distribution, just behind English-language works and national productions, as is the case in Germany and Australia, for example. Another salient fact: Poland, a new country studied in 2022, is emerging as a particularly promising territory for our audiovisual and cinematographic creations.
French animation continues to dominate international screens, both in terms of broadcasting time and number of programs. From Miraculous: Tales of Ladybug & Cat Noir to Grizzy and the Lemmings and Pat the Dog, the variety of French works on offer continues to seduce broadcasters worldwide, even in the most unaffordable markets (USA, Mexico).
At the same time, we're seeing a major breakthrough for French fiction. Long-established in certain countries, such as Joséphine, ange gardien, whose success in Italy continues unabated, French fiction is taking a new step forward in terms of international reputation. This improvement can be seen both in the awards received (Lou De Laâge in The Mad Women's Ball at the Emmy® Awards) and in the numerous reports in the international press, often prestigious, such as The New York Times or The Guardian. In 2022, French fiction became the most exported genre for the first time.
Driven by ambitious creators and international co-productions, French fiction is also finding its way into areas previously considered inaccessible, particularly English-speaking countries (withc Around the World in 80 Days in Australia). Of course, streaming platforms have played a major role in boosting awareness and widening distribution, as demonstrated by the success ofe Paris Police 1900 on MHz in the USA.
After having been the genre most affected by the COVID crisis in 2021, documentary is back in the spotlight with a clear +32% increase in international sales. Numerous selections and awards at festivals, such as the International Emmy® Award for Iraq’s Lost Generation, bear witness to the success of this genre, whose variety of formats (creative documentaries, short films, reportages, etc.) is an undeniable strength in conquering screens the world over. In Poland and Sweden, documentaries are now the most widely broadcast genre in terms of number of programs.
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