UniFrance Films box office report: Love (Amour) ranks as the 6th most successful French film in the Netherlands.
Love continues its successful international run. It is still showing on 200 prints in the United States (Sony Classics), taking an additional $345,000 in its 13th week (46,000 admissions). Its results in North America, currently standing at $6.4 M$ (850,000 admissions), nonetheless dropped back rapidly after the Oscars ceremony and the inevitable dying down of media interest in the film. By way of comparison, Love should, by the end of next week, match the attendance figures of Coco Before Chanel (Sony Classics), which clocked up 873,000 US spectators in 2009. We can also note the ongoing enthusiasm for the film in the Netherlands (Cinéart), where it has held its ground in the Top 20 for the past 17 weeks. With over 225,000 admissions to its credit, it now ranks as the 6th most successful French film of all time in this market according to uniFrance Films records.
Haute Cuisine has got off to a respectable start in Italy (Lucky Red), attracting 37,000 spectators from 82 prints, ranking as the second most successful debut for a French-language film in this market since the start of 2013, after Asterix and Obelix: God Save Britannia (Lucky Red, 200,000 admissions). This is a somewhat similar scenario to that observed in Quebec (Métropole Films), where it has put in the second best opening in 2013, behind the pacesetter Asterix (Séville, 141,000 admissions in three weeks). After two weeks on the screens in Quebec, Saveurs du palais boasts a running total of around 24,000 admissions. These two openings show promise for the film after very mixed results registered in Europe. It managed to charm 73,000 spectators in Germany (Alamode) and 22,000 in Switzerland (Frenetic), but only attracted 23,000 spectators in Belgium (Cinéart) and 9,000 in Poland (Best Film). It now posts a total of over 200,000 admissions outside France, with a host of markets slated for release in upcoming months: Brazil (Alphaville/Mares Filmes), Mexico (Cinemas Nueva Era), Australia (Transmission Films), Israel (Orlando Films), and Japan (Gaga Corp.)
And finally, a word on Mobius, whose release in French-language European markets has achieved only limited success after two weeks. It has attracted a meager 15,000 moviegoers in Belgium (Cinéart) and 6,000 in French-speaking Switzerland (Praesens). French thrillers rarely prove successful in these markets, with previous titles Point Blank, Spy(ies), Farewell, À l’aveugle, and The Prey all remaining below the 20,000 spectators mark across the board. English-language markets traditional show more enthusiasm for this genre, as well as South Korea, Japan, and Russia. The recent star status of Jean Dujardin in the wake of the smash hit The Artist (13.3 million admissions abroad) should, however, ensure the film gains considerable exposure in foreign theaters in upcoming months.
