On the Road leads, outdistancing the unstoppable The Intouchables.
On the Road has got off to a fine start in Brazil (Playarte Pictures), the homeland of its director Walter Salles, with 165,000 spectators, driving the film to the top box office position. Its career continues in the Netherlands (Cinéart NL), where the film has registered the second best performance for a French film released in 2012, with 47,000 admissions in 8 weeks. However, in French-speaking territories, its results are more modest, with 27,000 spectators in Belgium (Cinéart) and 10,000 in French-speaking Switzerland. We note that Salles' Central Station brought together more than 3.6 million spectators worldwide, of which 1.6 million in the United States (Sony Pictures).
The print run for The Intouchables has been increased by 23 prints (making a total of 83 prints) in the United States (The Weinstein Company) and has taken in an additional $548,000. At the end of its 8th week out on theatrical release, the film has racked up 500,000 admissions ($3.8 million) and equals the performances of such Cannes winners as Of Gods and Men (Sony Pictures) and The Class (Sony Pictures. For its 29th week in Germany (Senator), it holds 6th place on the box office, gathering an additional 42,000 spectators, with 349 prints still in circulation. It reinforces a little more its status of the greatest French success of all time, with almost 8.5 million admissions tallied since its release. In Israel (Nachshon Films), the film has yet again registered the best performance for a French film since 2000 with 434,000 admissions, far outdistancing the former record holder Amélie (Shapira Films), which attracted 178,000 spectators in 2001. The Intouchables has now racked up 21.8 million admissions abroad.
Un bonheur n'arrive jamais seul is seducing spectators in French-speaking European territories with 62,000 admissions garnered in Belgium (Alternative) and more than 21,000 admissions in French-speaking Switzerland (Pathé Films). Two territories where the comedies by director James Huth, The Brice Man (356,000 admissions worldwide) and Lucky Luke (137,000 admissions worldwide), have registered their admission rates in the past. Un bonheur n'arrive jamais seul with Gad Elmaleh and Sophie Marceau has been sold in numerous territories such as Germany (Alamode), Spain (DeAPianeta), Russia (Daro Film), Turkey (Chantier Films), and the United Emirates (Phars Film Co.).
And If We All Lived Together has already garnered 470,000 admissions abroad. Its huge success in Germany (Pandora Film), with 342,000 spectators registered in 16 weeks, remains remarkable throughout Europe. It has also performed well in Spain (Golem - 44,000 admissions in 5 weeks), Austria (Filmladen - 32,000 admissions in 5 weeks) and in Switzerland (Frenetic - 38,000 admissions in 11 weeks).
