Summer round-up of French films at the international box office

Rank	Title	Admissions	B.O. Revenues	No. of Prints	No. of Countries	Total
1	Colombiana	1,975,805	11,268,379	2,718	4	1,974,805
2	Sarah's Key	662,876	3,693,212	339	4	1,518,379
3	Oceans	618,047	2,224,000	1,200	1	7,501,941
4	Nothing to Declare	503,898	3,765,839	480	5	1,878,993
5	Coursier	439,905	1,484,700	1,000	1	703,800
6	La Chance de ma vie	410,681	1,956,872	426	4	460,963
7	Little White Lies	188,952	1,448,571	169	4	820,913
8	Potiche	167,602	844,623	164	10	1,695,939
9	The Women on the 6th Floor	131,636	883,594	105	7	311,484
10	L’élève Ducobu	123,076	825,804	29	2	156,498
11	Behind the Walls	108,860	651,958	269	1	108,860
12	Romantics Anonymous	98,250	725,243	124	4	199,740
13	The Monk	69,395	185,655	39	2	69,395
14	Beautiful Lies	69,156	494,887	72	4	162,630
15	Farewell	66,721	441,254	53	2	269,058
16	Mozart's Sister	65,543	516,533	42	3	84,351
17	My Afternoons with Marguerite	59,339	417,714	49	4	809,380
18	Point Blank	55,924	314,326	44	3	97,542
19	The Names of Love	55,141	309,108	70	3	275,885
20	Le Code a changé	54,077	356,768	44	1	313,531

Sarah's Key is without any doubt the great surprise of this summer. After charming Dutch (500,000 admissions), Australian (105,000 admissions), and New Zealand (68,000 admissions) audiences last winter, Sarah's Key has now amassed more than 1.5 million spectators abroad. In the United States, the film has nearly reaped $6 million in the two months since its release. Also out on release since 4 weeks in the United Kingdom, the film has attracted 86,000 spectators and is already 2011's 3rd best performing French majority production at the British box office. It comes in behind Potiche with 150,000 admissions, and Little White Lies with 90,000 admissions.
The two latter titles are present in the summer's Top 10 thanks to their British and Brazilian (100,000 admissions) releases for the first, and in Spain (260,000 admissions) and Germany (105,000 admissions) for the second.

The many French comedies released abroad this summer sport encouraging results. Benefiting from a large number of prints in circulation, La Chance de ma vie was well received by Russian and Italian audiences, registering 165,000 and 215,000 admissions respectively. The Women on the 6th Floor also seduced the Italian public by attracting 180,000 spectators after 12 weeks in theaters. In Quebec, the film holds the 2nd best performance by a majority French film released in 2011, totalling 57,000 admissions, behind Of Gods and Men (160,000 admissions). As for L’élève Ducobu, it reached almost 50,000 admissions in Belgium, being 2nd best performance for a French film released in this territory in 2011, following behind the comedy Nothing to Declare, which reached 950,000 admissions at the end of its run.

Out in Germany now for 6 weeks, Dany Boon's film has gathered 460,000 spectators. Fine results, even if below the distributors' expectations given the number of prints in circulation during the opening week of the film's release (436 prints). Nevertheless, the film has so far registered the best attendences for a majority French film released in the German territory in 2011. It seems evident that Nothing to Declare will not be able to follow in the footsteps of the performance registered by Welcome to the Sticks (2.3 million admissions in 2008) in German theaters. In German-speaking Switzerland, let us note that the film has generated more than 110,000 admissions in six months, being the best performance for a French film in this territory since Welcome to the Sticks in 2008.

The presence of Océans and Coursier in the Top 20 listing is explained by their release in China this summer. These two films benefited from a large distribution of 1,000 prints each. After a middling start, Océans nevertheless managed to garner nearly 20 million yuan, the equivalent of around 618,000 admissions. The Chinese public displayed a real appetite for action blockbusters: Coursier generated 21 million yuan, income from around 680,000 admissions.

An encouraging start at the end of summer for Colombiana, the new English-language film produced by EuropaCorp: during the first week of its run in the United States, the film has generated $10.4 million at the box office for 2,614 prints. For the sake of comparison, From Paris with Love racked up more than $11 million at the box office in its first week in the American territory in 2010. Last weekend, Colombiana entered the closed circle of French films that have generated more than $30 million at the box office in the United States.