French cinema had a positive year overall on the big screen internationally in 2023. Nevertheless, we know that many changes have profoundly altered the ecosystem. As a result, the picture painted by the trajectory of French cinema in international cinemas in 2023 reveals different trends from those that characterized the late 2010s.

First observation: international admissions for French films were proportionally higher than for the overall market (+36.2% vs. +22.1%). Audience numbers for French productions continued to rise steadily, reaching 42.7 million. If we take out the results of the 11 blockbusters that attracted over 10 million spectators each between 2010 and 2019, we can see that an average of 47.2 million tickets were sold at foreign box offices each year during this period. From this angle, the 2023 total was only 9.7% below this level, and reached and exceeded the 40 million admissions threshold after three consecutive years relegated below it. In the 70 territories studied, two out of three admissions (67.4%) went to local productions in their own markets, while “only” one out of three admissions (32.6%) went to imported works, with France's share corresponding to 2.5% of the latter third. French films maintained and strengthened the position they held on the world market before the Covid-19 pandemic.
 

Second observation: platforms have changed the way films are consumed and thus distributed. For example, Ladybug & Cat Noir Awakening, the French leader of 2023 on big screens abroad (7.4 million admissions), was released directly on Netflix in the Americas, Oceania, and many Asian and European countries. This choice was made in the midst of the Covid-19 pandemic, when there was no way of predicting when the exhibition sector would actually resume its activity around the world. We note both that films are now circulating more via platforms and territories where on-demand practices are more deeply rooted. Here are millions of spectators who, five or ten years ago, would have been included in the theatrical release tally and not in results relating to performances on platforms.
 

Third observation: average admissions per film increased, and the gap between big and medium successes widened. Average admissions per film reached 33,600 in 2023, up from 25,500 in 2022, although they were well over 50,000 before 2019. In line with 2022, seven titles attracted over one million foreign moviegoers, and some 60 over 100,000. Nevertheless, compared with the past, half as many films sold between 500,000 and one million tickets, and the 10 biggest successes alone accounted for half of all tickets sold by French titles in 2023.

 

Fourth observation: the range of French films available for international theatrical release has never been so rich; it was mainly driven by French-language productions, with a strong emphasis on animation. In 2023, there were 1,269 films already in exhibition, including 287 new titles, and 3,211 new releases. Historic records! While the pandemic brought a halt to the steady increase in fresh titles, their presence in movie theaters increased from 2022 onwards. Audiences for French-language productions were back in force, with repeat ratios closer to – or much higher than – pre-pandemic levels than for French cinema as a whole (+6.9% vs. -26.6%). On the other hand, foreign-language productions stagnated, deprived of the flagship films that once attracted audiences of over five (or even 10) million each. Today, the torch seems to have been taken up by animation, voted the leading genre for the first time and attracting one in four viewers of French film worldwide in 2023. Its 27.7% annual share of total admissions was the highest ever! Comedy and drama completed the trio of the most popular genres (two-thirds of the films on offer and half of admissions), and continued to attract foreign movie fans. While we warned that arthouse audiences would desert movie theaters, we note that the former are back, with admissions for ranked French films exceeding their annual average for the decade. French cinema continues to rely on a rich and diversified range of genres and films to find international audiences, and comedies and dramas remained solid export bases, supported by the achievements of other genres – in 2023, by animation.

 

Fifth observation: Spectators for French films are becoming increasingly concentrated in Europe, and less and less in the other continents. Between 2010 and 2017 (excluding 2013 and 2016), half of all admissions for French films were generated outside Europe, while this trend has since been reversed and reinforced, reaching its historic peak in 2023, when 77.5% of tickets to French productions were sold in Europe. The fact that other regions often arrived on the big screen later than French productions, that they were released on platforms without going through the theatrical release window period, and the absence of the flagship English-language titles that peppered the 2000s and up to 2017, are all factors in this observation. Without forgetting that each foreign market is influenced by its own characteristics, dynamics, and post-Covid-19 trajectory – which has often triggered a determination to support and promote local production, making access to foreign titles more difficult. Forecasting and planning a film's international career has become even more complex. It is interesting to note that, in 2023, with the exception of the isolated case of Latin America, audiences for French films increased on all continents compared to the previous year, with peaks in Central and Eastern Europe (+73.2%) and Asia (+44.2%). One in three French film enthusiasts live in Eastern Europe – a first! Inevitably, the boom in this region, driven by animation and comedy, both popular locally, reduced the shares of other geographic zones compared with those recorded in 2022, with the exception of Oceania – which remained unchanged  – and Asia  – which strengthened slightly. Poland and Vietnam were among the foreign territories that offered a greater number of admissions to French films than in the past, taking on a new role as regional hubs. In 23 markets, audiences for French productions were higher than the 2017 to 2019 average, and in nine other territories, French cinema admissions lagged behind the local market.

2023 marked a return to normal for the 10 international festivals studied in this report, and France can boast some top-notch results.

The general desire was to restore festivals to their pre-pandemic role as launch pads, with organizers seeing public screenings as a priority for bringing films to audiences. These events continue to have a considerable impact on the film industry, and increasingly raise awareness of their essential role as a springboard for a whole typology of films that require this kind of event to kick-start their distribution and circulation. Particularly in 2023, film festivals highlighted cultural diversity by expanding boundaries in the various selections, with an increased number of productions from countries that were usually poorly represented, or not at all, through a rich range of works in a variety of cinematic forms, and by giving pride of place to emerging talent.
 

There's no denying that 2023 was a great year for France. Firstly, the number of French films directed by women rose to a record 39.5% of the total, beating the overall average for all nationalities. Secondly, the awards list reveals a diversified, multicultural range of French titles, featuring both established and emerging filmmakers. France won the Palme d'Or at Cannes, with Justine Triet's Anatomy of a Fall, which was a critical and public success both in France and abroad, and has continued racking up awards since its festival debut. Nicolas Philibert's On the Adamant, awarded the Golden Bear at the Berlinale, confirmed that documentaries have their place at festivals, as did the fine trajectory of Kaouther Ben Hania's Four Daughters, Œil d’or at Cannes. For the third year running, France had the most films selected (256, more than one in five), the most screenings (353, or one in four) and won the most awards (47), all nationalities combined. France presented more films than the United States at eight festivals, with a particularly strong presence at Cannes, Busan, the Berlinale, and Rotterdam. And 20 of the 50 titles selected by three to five festivals were of French nationality. This leadership would not be achieved and maintained over the years without taking into account the multicultural nature of French titles, as four out of five films were the fruit of co-productions between two countries on average, for a total of 81 foreign partner countries.

This report and all the market indicators implemented at Unifrance continue to monitor and analyze the presence, circulation, and consumption of French works abroad. Despite global admissions still below pre-pandemic levels, a changing geography of markets, and evolving consumer habits among viewers, French films retain a prominent place on the world stage.

Kaouther Ben Hania and the protagonists of Four Daughters at the Cannes Film Festival, 2023.

The main market indicators of French films on the international scene in 2023

In theaters:

• 42.7 million admissions and €271.4 million in box office revenues.
• 33.7 million admissions for majority-French productions and 34.1 million for those in the French language.
• 1,269 films in exhibition (including 287 new titles) and 3,211 new releases.
• Seven films topped the one million admissions mark and 68 clocked up more than 100,000.
• Eastern Europe (19.3 million) was the leading geographic zone in terms of audience figures.
   

In international film festivals:*

• 256 French films selected and 346 presentations.
• France remained the leading country in terms of number of films, presentations, and awards received.
• Two French films out of five were directed by a woman.
• One Palme d'or, One Golden Bear, and 45 other official awards.

* The 10 festivals studied: Bafici, Berlin, Busan, Cannes, Locarno, Rotterdam, San Sebastián, Sundance, Toronto, and Venice.

Since its first publication in 1994, the UniFrance annual report has monitored and analyzed the figures for French productions in theaters outside France each year, with its content enriched and expanded over the years. The report about French films on the international scene includes an overall analysis of their theatrical results, 70 country fact sheets (including some 15 with a mini SVOD fact sheet) and an analysis of the presence of films at international festivals. This annual report is unique among all national movie industries—no other nation is in a position to produce a comparable publication.

The 2023 report can be downloaded below (in French only)

Dates

The event will hinge on the International Animation Day (October 28) organized by ASIFA (Association Internationale du Film d'Animation), and will run from October 11 to 31, 2024, the dates of the Fête du Cinéma d’Animation in France run by the AFCA (Association Française du Cinéma d’Animation).

Program

MyFrenchAnimationDays consists of three key events targeting all ages and the general public.

1 - Discovery workshops with participating French schools abroad

For schools at 3 levels: nursery, CP/CE1/CE2 and CM1/CM2 (from 3 to 10 years old) to enable them to learn while having fun, to explore while stimulating their curiosity and to develop their own imagination.

Each teacher / class will receive an educational kit designed by Unifrance in collaboration with a teacher, including :

• An episode from each series for screening in the classroom
• Educational videos explaining what goes on behind the scenes of the series
• Educational sheets to guide teachers and a competition.

The 4 series proposed for this 1st edition are as follows:

• Edmond and Lucy (MIAM! Animation)
• Gigantosaurus (Cyber Group Studios)
• Simon Super Rabbit (GO-N Productions)
• Zig & Sharko (Xilam Animation)

Discover what goes on behind the scenes of these series thanks to the educational videos created as part of the operation.

2 - Online Talks

For all audiences, especially students and professionals.
Two talks (in English) moderated by Daniela Elstner, Unifrance's Executive Director, to be seen live online.

• Online Talk #1 : "With Jeremy Zag and Aton Soumache: Discover the World of Animation Filmmaking".
  
  “Miraculous: Tales of Ladybug and Cat Noir – The Movie – a discussion with the creator and producer. Two global successes, a series and a film, a dynamic duo – how does one become a creator of such a unique, both French and international universe? Unifrance invites you to dive into the fascinating world of Jeremy Zag and Aton Soumache.”
  
  

  Jérémy Zag is CEO, Founder of ZAG / Director, Composer and Producer of Ladybug & Cat Noir Awakening. Aton Soumache is Honorary President of Mediawan Kids & Family / President of The Magical Society.
   

  October 14, 2024, at 4pm (UTC+2)

Register here

• Online Talk #2 : “With John Coven and Briana Yarhouse: How to Become an Animator?”
  
  “Animation invites us from a young age to identify with heroes and heroines, to immerse in universes. It can create vocations, drawing, inventing, and speaking in this universal language. But how and when should one pursue it? What schools for which careers?"
  
  John Coven is Director of the Department of Animated Film at the French school Les Gobelins. Briana Yarhouse is Director of International Animation Day at ASIFA (International Animated Film Association) and Director of the Animation Program at Interlochen Center for the Arts.
  
  October 16, 2024, at 4pm (UTC+2)

Register here

3 - Special screenings

International physical screenings will be set up, from 11 October to the end of 2024, for all audiences, by local distributors in several European countries and by several Instituts français.

 
Special screenings organised by local distributors:

• Sirocco and the Kingdom of the Winds – Norway & Denmark
• Flow – Italy
• Animal Tales of Christmas Magic – Italy & Switzerland
• Into The Wonderwoods– Switzerland 

Screenings organised by French Institutes:

• Sirocco and the Kingdom of the Winds – Poland
• Mars Express – UK
• The Siren – UK

Partners
The Ministère de l’Europe et des Affaires Étrangères, Institut Français, Association Internationale du Film d'Animation (ASIFA), Association Française du Cinéma d'Animation (AFCA), Annecy Film Festival, traditional partner of Unifrance.
     
Contacts
Unifrance – Transversal Initiatives Department

• Daphné Kapfer

Unifrance: How did the idea for this TV movie come about? What interested you in this project?

Thierry Langlois Thierry Langlois: It was Fanny Chesnel, the film's scriptwriter, who suggested the idea to our producer Chloé Besomi. It was originally a series project, which I discovered when I joined Morgane Production. As a former broadcaster, I was intrigued and seduced by the proposal, but quickly realized that it might be complicated to sell as a series. We're in a very particular arena, with a story that covers two dimensions: firstly, a woman's struggle as expressed by the emancipation of the main character, Ambre; and secondly, the discovery of a world that is little-known, not to say despised in our society, that of waste management and all it entails, and more specifically how it operates in Paris.

The subject interested us because of its originality. We immediately thought of the public service to accompany us. We were in a societal register, highlighting some of the invisible people in our society. At a press briefing in La Rochelle, Stéphane Sitbon Gomez, Director of "Antennes" and Programs at France Télévisions, and Anne Holmes, Director of Programs, announced that France Télévisions wanted to develop its dramatic fiction range to deal more consistently with these kinds of subjects.

When we started pitching the project as a series with Chloé, we really understood that it would be complex. The move to 90 minutes was also the result of our discussions with France Télévisions, who were immediately very interested but shared our reservations about the format. It was a big risk for them, on a subject that wasn't necessarily a draw-card.
 

This change of format had a major impact on the project…

TL: Almost all the characters from the film were present in the series, but developed in a more substantial way. We were interested in the individual trajectories of several of the secondary characters, notably that of the character played by Bernard Campan. The TV movie format led us to focus the story on the character of Ambre.

Marie-Laure HébrardMarie-Laure Hébrard: All the work we put in beforehand is also what makes the characters so fully rounded!
 

The film immerses us in the little-known Parisian waste management unit known as La Fonctionnelle. How did you approach it?

TL: We did a great deal of research work into La Fonctionnelle, the Parisian cleaners and garbage collectors who intervene, often on an emergency basis, in complex situations. This unit really exists, and is headed by a strong woman, who herself arrived in the job as a single mother. This real-life character greatly inspired our authors Fanny Chesnel and Noémie de Lapparent to build the character of Ambre.
 

How did you balance reality and fiction?

TL: We wanted to deal with the film's two subjects without favoring one over the other. On the one hand, the story of a young woman's emancipation, and on the other, the professional dimension, with the discovery of the world of garbage collectors, a very masculine profession, which added an extra dimension. We didn't want to fall into the trap of miserabilism, because that's not what we saw when we met the various people involved. There are sterling and universal values of humanity and solidarity, which I think we managed to convey in the film.
We went to shoot in La Fonctionnelle's premises and in their training center, because we wanted as much authenticity as possible.
 

Was it complex to shoot on the site?

TL: Of course this involves constraints, but they were very moved and touched that we were there, and they were very supportive and helpful in the production and in providing what we needed. We were quickly given a very warm welcome.

As far as financing is concerned, the Île de France region generally doesn't give much in the way of production grants for  stand-alone telefilms. In this case, they helped us in a rather significant and unusual way, because we were giving visibility to a subject that hadn't been dealt with until then.
 

Was the choice of director Akim Isker, who had already tackled the theme of a child's bond with his mother in L'Enfant de personne (Nobody's Child), an obvious one?

TL: Neither Chloé nor I knew Akim personally, but we had seen his work, particularly L'Enfant de personne. The character of the young child, played by Amaury Leroy, is very important in The Test. In calling on Akim, we were looking both for his talent and sensitivity, which helped produce the lovely L'Enfant de personne, but also for the certainty of choosing someone who knew how to work with young children. This requires a special kind of directing. As Akim explains so well, a four-year-old doesn't know he's acting, but he has to be able to see it as a game. Obviously, we had specific coaching, support, and a lot of supervision for Amaury.
 

What makes the project unique, especially for an international audience?

TL: The showcase La Rochelle offered the film was very important to us. The narrative unfolds in the world of Parisian waste management, so it's a fairly localized setting. But the international dimension is driven by the universal values of humanity I've mentioned, which the film conveys. The subject of single mothers is not specific to France, unfortunately. The Test offers an X-ray of society that should be able to resonate in other territories.

MLH: And yet, the film remains very luminous! Women's struggles are universal, and its this dimension that international broadcasters are looking for. Few public television channels have produced TV movies on this subject, and the few buyers I met in La Rochelle were very sensitive to the subject and its treatment. The relationship between Ambre and her child is also very affecting.

TL: The relationships between this child, his grandparents, his mother, and even his friends afterwards, are indeed very lovely; they provide a narrative resource that works well.

MLH: There's a multigenerational aspect to the film that is a good unifier for television. This is extremely positive for the film. There are also some gorgeous views of Paris, which doesn't hurt its international appeal. The film brings together some very promising elements.

The Test

The film does capture lovely views of Paris, but also less glamorous glimpses behind the scenes...

MLH: Personally, I didn't know that La Fonctionnelle existed. We discover a universe and learn things we didn't know, we learn to look at the invisible. The film allows us to develop real empathy for these people whose role we tend to forget, even though they are present on a daily basis and perform an essential service for the community.

TL: As we were leaving the first team screening we'd organized, a garbage truck drove past us. The garbage collectors couldn't understand why everyone was suddenly applauding them! They're people you walk past and don't look at, even though their work is essential. Beyond the difficult working hours, the heavy loads to be carried, and the weather conditions, it's a psychologically complicated job. As we can see in one of the scenes in the film, these collectors are directly confronted with human hardship and misery.
The subject is certainly a heavy one, but we wanted to tackle it with a sunny approach, particularly through the character of Ambre. Frankie Wallach is terrific in this role. The whole cast is absolutely remarkable, but when Frankie met Akim for the first time, it was pretty obvious they'd do great work together.

Do you have any initial feedback to share after the broadcast on France 2 in September?

TL: In addition to the press, rarely so unanimous about the quality of a film, the broadcaster also received very positive and laudatory feedback, and the film scored one of the highest tallies for a film on France Télévisions' dramatic fiction slate! The Test stands out for its originality and its educational dimension. We're very proud of it.

The Test won the Best TV Movie Award and the Foreign Press x Unifrance Award at the latest Festival de la Fiction de La Rochelle Fiction. How do you see the film's international career unfolding after these awards?

MLH: This award from the foreign press is a real international recognition, which becomes a label of quality internationally. When we started sending screening links to our clients, a week after we had pitched the film at the Unifrance Rendez-Vous in Le Havre, it had just won this award, which offered a tremendous argument in the film's favor. Such awards make it a priority for buyers to see a film. The film's selection at TAFFF in Los Angeles added to this, which is great!

The Test

Twelve-year-old Jonathan lives with his sister, his mother, and some men. They all have the same head and nest in closets, drawers, and the TV set.

A funny and subversive short film, caustic and nihilistic, whose hero is a pre-teen who watches his own family life on TV...

Selected for dozens of festivals around the world, I’m Going Out For Cigarettes reaped an award at the Locarno Film Festival and the prestigious Prix Émile-Reynaud in 2018.

Special thanks to Miyu Productions.

To watch the film, click on the image below
(English subtitles available)

For each territory, the market shares by broadcast time give an overview of the market configuration and the penetration of French titles. In addition, the top three positions and the distribution of French broadcasts by genre allow us to identify the titles that received the highest broadcast ratio over the period.

For the first indicator of 2024, which will be published in October, Unifrance will focus its analysis on broadcasts in Italy, Spain, the United Kingdom, and the United States in August 2024.

Unifrance members can download the monthly market indicator of French audiovisual programs on international television below (in French only).

The Count of Monte Cristo retained its lead position of the most-seen French film in international cinemas in August. Riviera Revenge and Acid took second and third place.

Box office results for French films abroad get back on track

French films attracted 2.9 million spectators and generated €19.0 million in international box-office revenues in August. After June and July, when just over 1.5 million tickets were sold on a monthly basis, August was at last the breakthrough month for French films, both in terms of genre and territory. Nearly three million foreign moviegoers choose to see a French production on the big screen! This is the third-highest month in terms of ticket sales of the current year, after February and March (five million), marked by an increase in attendance of almost 90% compared with July and June. This upward trend in the box-office for French titles abroad can be explained by a more substantial number of new films launched (195 compared with 143 in July and 154 in June), very solid runs of films still in distribution, and successful releases.

AcidIn detail, the top three titles were The Count of Monte Cristo, Riviera Revenge, and Acid. The adventure film enjoyed a wave of success in Belgium & Luxembourg (Alternative, 260,000 admissions and €2.58 million total revenues) and Switzerland (Pathé, 112,000 and €1.61 million), and has added solid careers to its list, including nearly 200,000 spectators in Spain (Beta Fiction, €1.29 million), 100,000 in Poland (Kino Swiat, €0.54 million), and 69,000 in Quebec (A-Z, €0.50 million). In all the above-mentioned markets, the fluctuations from one week to the next were very limited, a sign of the positive word-of-mouth that seems to herald a long life for The Count of Monte Cristo on the silver screen. As for Riviera Revenge, it attracted 165,000 German (Neue Visionen, €1.51 million) and 27,000 Austrian (Luna, €0.26 million) moviegoers, making it one of the most popular French productions locally in 2024. Last but not least, Acid was a hit in Peru! Launched in 111 cinemas, it sold 140,000 tickets in its first week of release (Star, €0.31 million), making it the best launch for a French-language production in Peru, and the third top-ranking French-language title after Taken 3 in 2015 and Taken 2 in 2012 These three titles and their respective breakthroughs confirm foreign moviegoers' interest in French franchises, the appeal of comedies in European markets, and the popularity of genre films in Latin America. The monthly top 10 confirms these trends and highlights others, such as the longevity of French productions on screens, thanks to their release schedule spread over several months (or even years), the weight that animation now represents in the supply of titles, and the wide circulation often reserved for arthouse films. In Portugal, for example, Oh La La attracted 52,000 admissions (Nos, €0.33 million), and A Little Something Extra over 70,000 in Europe, while The Count of Monte Cristo and The Taste of Things were released in over 10 territories. The latter has remained one of the most popular titles for many months, along with Argonuts, which ensures the presence of French animation in the rankings. The latest animation genre entry Zak & Wowo, la légende de Lendarys shared its first appearance in the monthly top 10 with The Price Of Money: A Largo Winch Adventure).

Germany, Spain, and Poland: the top three territories in August

Europe remained the leading geographic zone for French cinema (73.0% of monthly admissions), with the Central and Eastern region offering twice as many admissions as in July, thanks to a particularly Francophile Polish market. The other dynamic zone was Latin America (+166.1%), with Acid accounting for more than a third of the total. As for Asia, the lights remained red in August, and the same applied to Oceania. Acid and the minority-French production The Inseparables were the only French titles to attract more than 100,000 moviegoers outside Europe. The top trio of territories by admissions changed, welcoming Spain after a long absence. Seven foreign territories (four in July and June, eight in May, seven in April, 14 in March, 13 in February, and six in January) offered more than 100,000 admissions each to French productions in August.

Comedy, adventure, and animation took center stage

In August, comedy/dramatic comedy retained its crown as the favorite international genre (0.7 million spectators, 25.3% of the monthly total), but two genres followed close behind: animation (24.0%, over 200,000 admissions each for the releases of the minority-French productions The Inseparables and Panda Bear in Africa) and adventure (23,4%). Drama strengthened its presence, and fantasy made a comeback, buoyed by the warm reception given to Acid in Latin America. Majority-French productions (69.6% of total admissions) and French-language productions (80.5%) still accounted for the largest share of admissions for the month. Rounding off this report, more than 0.3 million admissions went to arthouse films (12.4% of the monthly total), led by the unmissable The Taste of Things and Jeanne du Barry, and newcomer Emilia Pérez.

Emilia Pérez

This report can be downloaded in PDF format below (French version only).

This report is based on results recorded on September 16, 2024. Since our statistics for film releases are continuously being updated, the graphics generated automatically on our website will differ from the chart featured in this article.

On the audiovisual front

Deadline put the 30th Unifrance Rendez-Vous in Le Havre on its front page.
➡️ Read the article online

Julia Schulte gave an interview to Señal News in which she spoke about France tv distribution's sales strategy.
➡️ Read the article online

The Art Desk praised Samber, a series broadcast on BBC Four: "A satisfying novelistic retelling of a French true crime saga."
➡️ Read the article online

Deadline put the spotlight on the international launch of the animated series Samuel.
➡️ Read the article online

Variety announced the acquisition of The Plague for broadcast in Spain and Portugal.
➡️ Read the article online
 

Newen Connect presented the adaptation of the classic manga Cat's Eyes at MIPCOM,  C21 Media reported.
➡️ Read the article online
 

And AMC Network announced the broadcast of Vigilantes on the XTRM television channel.
➡️ Read the article online
 

On the animation front

MIAM! distribution picked up international distribution rights to the adult animated series Mare the Mermaid.
➡️ Read the article online

A new adaptation of The Three Musketeers geared for children aged 6 to 10 is set to premiere at MIP Junior, World Screen announced.
➡️ Read the article online

Arte won the Cartoon Tribute Broadcaster Award at Cartoon Forum 2024, we can read in Kid Screen.
➡️ Read the article online
 

And Señal News reported that Samurai Rabbit: the Usagi Chronicles will soon be aired on German and Hungarian screens.
➡️ Read the article online
 

On the theatrical releases front

In Portugal, the Jornal de Noticias published an interview with Reem Kherici for the release of her film Cat & Dog – The Great Crossing.
➡️ Read the article online
 

The Taste of Things is "a very welcoming Vietnamese-French fusion," the FilmWeb site stated upon the film's release in Poland.
➡️ Read the article online
 

British magazine Hey You Guys published an interview with Cédric Kahn to coincide with the release of The Goldman Case in the United Kingdom.
➡️ Read the article online

A Difficult Year arrived in Australia. The Nightly dedicated a glowing article to the film.
➡️ Read the article online
 

In Norway, Cine.no published an interview with Léa Todorov for the release of Maria Montessori: "Wanting to show the woman behind the myth."
➡️ Read the article online

"A particularly loopy tale," the New York Times stated about Daaaaaalí!, recently released in the United States
➡️ Read the article online

The Animal Kingdom is "a film about accepting difference," we can read in Radiónica in Colombia.
➡️ Read the article online


We finish this round-up with the centenary of Marcello Mastroianni's birth, which coincides with the release in Spain of Marcello Mio by Christophe Honoré. El Nacional reported on the event.
➡️ Read the article online