By continuing to use this website, you agree to the use of cookies in order to offer you content and services that are tailored to your interests.

En savoir plus et gérer ces paramètres[OK]

International statistics

09 April 2012 à 17:42

French films at the international box office: March 2012

Since the start of 2012, French films have registered 32 million admissions in foreign markets, with 70% of this figure credited directly to The Artist and Untouchable.

Rank Title Admissions Revenues No. of Prints No. of Countries Total Adms.
1 The Intouchables 5,265,031 34,642,707 2,258 9 13,585,020
2 The Artist 2,636,671 16,875,247 3,179 20 10,765,444
3 The Players 140,605 1,191,427 50 2 140,891
4 My Way (Cloclo) 88,714 683,673 49 2 88,714
5 Delicacy 57,645 438,668 180 1 91,236
6 A Monster in Paris 54,088 301,313 281 2 895,780
7 Where Do We Go Now? 52,593 329,568 117 5 499,250
8 Carnage 48,501 288,485 176 11 2,997,212
9 The Source 42,215 244,243 88 3 188,881
10 Sea Rex 3D: Journey to a Prehistoric World 40,569 239,432 12 1 660,312
11 The Chef 38,803 238,669 42 3 38,803
12 Poliss 30,745 132,817 33 4 108,543
13 The Lady 27,435 163,036 79 2 115,479
14 Snows of Kilimanjaro 25,070 170,983 75 7 123,450
15 Il était une fois, une fois 20,116 141,228 26 1 78,764
16 La Vérité si je mens 3 16,197 137,553 28 2 172,787
17 17 Girls 14,843 83,043 38 2 19,576
18 Zarafa 13,403 108,613 82 2 45,708
19 The Well Digger's Daughter 13,004 54,648 7 1 141,082
20 Wild Grass 11,358 76,694 17 1 253,015

The Artist performance in foreign theaters has slowed its pace, coinciding with the end of its run in the USA, while Untouchable continues to post excellent results in Europe, even gaining a second wind in South Korea, where attendance figures are close to the million mark. Only a handful of French titles have succeeded in making their mark in the international arena so far in 2012. Comedies such as The Players, My Way, and La Vérité si je mens 3 have nonetheless triumphed in French-language markets, and two Arabic-language films, Where Do We Go Now? and The Source, have attracted considerable attention in southern Europe.

After conquering the major European markets (excluding the UK), UThe Intouchables has now begun its Asian run, starting in South Korea where it jumped to second place at the box office on its opening weekend. This is an exceptional achievement for a French-language film, so much so that the film now ranks as the most successful French-language film in South Korea since the beginning of the decade, after just two weeks in theaters and with 941,000 admissions to its credit. Released on over 500 prints in South Korea, these results add to this French comedy's record-breaking performance, and are most surprising in a market that strongly favors local and American productions.
Untouchable's promising debut in southern Europe has lived up to expectations, now ranking as the most successful French film in Italy since the early years of the decade. With a total of 1.7 million admissions registered at the end of its fifth week, it now outshines the performance of Amelie back in 2002 (1.4 million admissions). In Spain, it has attracted 906,000 spectators in three weeks and looks set to match the score of Asterix & Obelix: Mission Cleopatra (1.6 million admissions in 2002). In Greece, the film has exceeded its distributor's expectations, pulling in 40,000 spectators in two weeks. Registering 1.2 million admissions in Switzerland, it stands out as the second most successful film (of all nationalities) in this market since 1995, behind Titanic (1.9 million admissions). In other markets, the film posts a running total of 7.3 million admissions in Germany, 960,000 admissions in Belgium, and 648,000 admissions in Austria.
By the end of March, Untouchable had registered 13.6 million admissions abroad, generating 100 million euros in ticket sales. Its release in nine major Latin American markets in April, combined with its release in the USA in May, should boost the film's international success even further.

The international performance of The Artist has slackened pace, notably due to the winding down of its run in the USA, starting three weeks ago. The film met with fine success across the Atlantic, amassing $43 million in receipts after eighteen weeks and attracting 5.6 million moviegoers. Its American distributor, The Weinstein Company, had estimated a total of $60 million by the end of its US run (double the ticket sales generated over the Academy Awards weekend), an objective that now appears difficult to achieve.

In Quebec, The Artist has topped 200,000 admissions after sixteen weeks and looks likely to outstrip the performance of a previous Hazanavicius-Dujardin collaboration, OSS 117, Le Caire nid d’espions, which registered 210,000 admissions in 2006. The film's run continues in Russia, where it has remained in the Top 20 for the past seven weeks, credited with 303,000 admissions. This is a rare achievement in a market in which French films generally struggle to enjoy extended success. In Germany, it currently posts 552,000 admissions, exceeding the results of the previous hit Nothing to Declare (500,000 admissions) in 2011. In Latin America, it has generated over 200,000 admissions in Mexico, Argentina, and Brazil. At the end of March, The Artist tallied a total of 11 million spectators in foreign theaters.

The Players and My Way (Cloclo) have been released in French-language European markets, with somewhat similar results. Both films hit the number 1 spot at the Belgian box office in their opening week, with both losing their top ranking in their second week after a 50% drop in attendance figures. Both films nonetheless put in fine performances in Belgium overall, with The Players reaching 103,000 admissions in four weeks and My Way (Cloclo) coming close to 80,000 admissions in just two weeks. Results for both films were more restrained in French-speaking Switzerland, with The Players scoring 38,000 admissions in five weeks and My Way (Cloclo) registering 12,000 admissions in two weeks.

Where Do We Go Now? has made a name for itself in Italy, attracting 86,000 spectators in ten weeks. The film also hit its stride in Spain, pulling in 30,000 admissions in two weeks. In 2011, the film had failed to attract great interest in French-language markets, scoring 16,000 admissions in Belgium and 6,000 in French-speaking Switzerland. However, this Arabic-language film has achieved the best performance ever recorded for a French film in Lebanon, with 301,000 admissions registered. The film's Lebanese director, Nadine Labaki, thus breaks her own record in this market, since her previous film, Caramel, had attracted 111,000 spectators in 2007. The film has also won over audiences in other Middle Eastern territories, with 22,000 admissions registered in both the United Arab Emirates and Jordan.

The Source has achieved somewhat lackluster results in Italy, bringing in just 40,000 admissions after three weeks. These are surprisingly modest results considering that Italian audiences have previously shown strong interest in films by Radu Mihaileanu, with Train of Life (459,000 admissions), Live & Become (86,000 admissions), and The Concert (677,000 admissions) all registering their best performance outside France in Italy.

Author : Matthieu Thibaudault

Latest update : 28 May 2013 à 17:42 CEST


Photos (3)

Linked to this news article

Linked films (20)