Results for French films in international theaters in 2013 did not pick up significantly in April.
| Rank | Title | Admissions | Revenues | No. of Prints | No. of Countries | Total Admissions |
| 1 | In the House | 250,797 | 1,574,293 | 183 | 6 | 798,889 |
| 2 | On The Other Side of The Tracks | 174,313 | 1,207,038 | 405 | 4 | 514,342 |
| 3 | Renoir | 156,278 | 940,702 | 152 | 4 | 314,382 |
| 4 | Fly me to the moon | 87,864 | 678,140 | 318 | 4 | 550,041 |
| 5 | Populaire | 48,192 | 328,009 | 91 | 4 | 133,984 |
| 6 | Paulette | 47,782 | 256,688 | 45 | 2 | 56,917 |
| 7 | Haute Cuisine | 47,454 | 308,166 | 81 | 4 | 337,114 |
| 8 | On the Road | 47,004 | 287,500 | 202 | 5 | 977,940 |
| 9 | Love | 42,753 | 259,945 | 219 | 13 | 3,368,094 |
| 10 | Zarafa | 42,044 | 170,043 | 148 | 1 | 179,543 |
| 11 | Rust & Bone | 40,771 | 225,939 | 126 | 5 | 1,189,384 |
| 12 | The Patience Stone | 37,555 | 222,572 | 47 | 3 | 61,691 |
| 13 | Billy and Buddy | 35,679 | 325,687 | 47 | 2 | 131,883 |
| 14 | The Other Son | 35,149 | 188,676 | 49 | 2 | 288,202 |
| 15 | Almost Charming | 28,494 | 165,397 | 135 | 1 | 33,870 |
| 16 | Thérèse Desqueyroux | 24,446 | 119,383 | 18 | 2 | 61,931 |
| 17 | The Man Who Laughs | 22,397 | 119,317 | 31 | 2 | 77,302 |
| 18 | Jappeloup | 20,829 | 183,330 | 36 | 2 | 67,060 |
| 19 | A Lady in Paris | 20,692 | 137,544 | 64 | 2 | 26,676 |
| 20 | The Brats | 19,873 | 192,114 | 38 | 2 | 19,873 |
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French films have registered a low 12 million admissions in around 40 international markets since the beginning of 2013. They have managed to attract over 1 million spectators in only four markets since January: Germany (1.5 million admissions), the USA (1.5 million), Italy (1.4 million), and China (1.2 million). Between 500,000 and 800,000 admissions were registered in Spain, Brazil, the UK, Mexico, and Belgium.
These lackluster results are primarily attributed to a shortage of films with strong commercial potential in the international arena this year (including new titles and films released in 2012 that are still on the screens), but also to the low number of productions released in key markets. Only two French titles have raked in more than 1 million admissions to date this year (Love and the French minority production Upside Down), compared to an average of between four and five titles in the same period since the beginning of the 2000s.
Taking this context into consideration, French-language films account for 62% of all admissions to French films outside France, while French majority productions represent 69% of the total figure.
Spotlight on 3 French majority films with outstanding performances in April 2013
In the House maintains strong results at the Italian box office, attracting over 40,000 admissions for its second week running, with a stable 90 prints in circulation. It looks likely to cross the 100,000 admissions mark by late May, thus registering the 3rd best results for a French majority film in this market in 2013, behind Asterix & Obelix: God Save Britannia (200,000 admissions) and On the Other Side of the Tracks (151,000 admissions).
In Quebec, attendance figures have reached a total of 20,000 spectators after two weeks, during which the film registered the best performance at the box office by a non-American film. With its release raised in its second week from 3 to 9 prints in the USA and English-speaking Canada, results have remained consistent, taking $45,000 in this period, for a total of $90,000 since its release.
In the House currently tallies 800,000 admissions in international theaters.
On The Other Side of The Tracks appears to have run out of steam relatively quickly in the major European markets. In Germany, it posted a total of 272,000 spectators at the end of its seventh weekend, with the number of prints dropping from 255 (on its third weekend) to 68. Its admissions figures in Italy fell back by 58% in its second week, with only one print in circulation in its fifth week, while still managing to achieve a respectable overall score of 150,000 admissions. In Spain, its career was short and sweet, disappearing from the screens after only five weeks, with 33,000 to its credit.
Renoir is well on its way to bettering its results in the home market, with currently 314,000 admissions registered abroad, against 500,000 in France. Its best scores come from the USA and English-speaking Canada, with 124,000 moviegoers coming out to see the film in five weeks, generating $924,000 in ticket sales. This is the best performance by a French title released in North America since the beginning of 2013.
Its run in Germany is drawing to a close, after amassing 116, 000 admissions. This is a fine achievement, as is the case in Quebec, where it attracted 24,000 spectators in three weeks, ranking as the third most successful French film in Quebec this year. Renoir is scheduled to be released in Turkey and the UK in June.
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