As the global film industry evolves, the challenges faced by French cinema in the international market have become increasingly pronounced. According to a recent report from Unifrance, the international box office for French films saw an 11% decline in 2024. While this statistic stands out, it represents only part of a more complicated narrative concerning the state of French film exports. This article delves into the nuances of these figures, the broader context of the film industry, and the implications for the future of French cinema.
The Unifrance report highlights that French film productions had amassed 33.4 million admissions internationally in the first 50 weeks of 2024, generating approximately €222.8 million ($227.09 million) in gross revenue. A preliminary overview for the entire year forecasts a total of 38 million admissions, translating into revenues around €250 million ($254 million). This decline can be viewed against the backdrop of a heightened global box office slump, which saw overall admissions drop by an average of 9% globally. Such figures, stark on their own, raise questions about the influencing factors contributing to this dip.
The most notable success story among French films was “The Count of Monte Cristo,” which managed to secure 3.3 million admissions and a gross of €20.7 million ($21.2 million). There’s a notable trend here: many successful French films had originally debuted in 2023, showcasing a carryover effect as opposed to a robust influx of new content in 2024. New entrants, such as “A Little Something Else” and “Oh La La,” did demonstrate some viability, but their overall impact was comparatively modest.
A crucial context for understanding the decline in international French film admissions is the shifting landscape of global cinema consumption. Unifrance’s Director of Cinema, Gilles Renouard, pointed out that the absence of major Hollywood blockbusters at the beginning of 2024—following the Hollywood strikes—did not translate into increased viewership for international films. The prevailing sentiment among audiences appeared instead to lead to diminished interest in theaters altogether.
Changing viewing habits also weigh heavily on traditional cinema attendance. With the increasing prevalence of streaming platforms, many potential viewers find themselves drawn into the convenience of home viewing instead. Renouard specifically referenced the impact of the animated feature “Miraculous The Movie,” which saw more substantial viewership on Netflix than in theaters. Consequently, it became increasingly difficult for films like “Emilie Pérez” to draw audiences to cinemas for full theatrical experiences, which ultimately hurt box office numbers.
Examining the territories where French films performed best reveals important insights about engagement with local markets. Germany emerged as the top territory for French cinema, accounting for 4.1 million admissions. Other noteworthy markets included Russia and Mexico, illustrating that there are still viable opportunities for French films despite overall declines.
Notably, while markets in Europe showed relative strength, other regions like Asia have posed greater challenges. In particular, the competitive landscape has become complicated, revealing a growing gap between popular animated films and arthouse titles. While titles like “The Jungle Bunch 2: World Tour” succeeded in territories like Vietnam, traditional arthouse films have struggled to penetrate audiences in key markets—Japan being a prime example of this trend.
Despite the discouraging numbers, there exists a thread of optimism among French film executives. Sales chiefs like Ramy Nahas and Agathe Mauruc expressed confidence in the resilience of domestic French cinema, noting that despite the international struggles, the domestic box office saw an addition of one million spectators in 2024. This could suggest that stronger local performances might feed into international markets in the coming years.
Furthermore, there is a growing appetite for arthouse films in France that could translate into future international successes. Mauruc pointed out that while international returns have yet to match the demand, the engagement with indie films such as “Holy Cow” and “Souleymane’s Story” signifies a positive trend that could stimulate interest in broader markets.
The current state of French cinema is situated at a crossroads where uncertainty meets potential opportunity. The 11% drop in international admissions reflects broader shifts in consumer behavior and market dynamics that could reshape the future landscape of filmmaking. While challenges abound, the vitality of local cinema and the demand for arthouse films hold promise for revitalization. For French cinema to thrive on the international stage, strategic adaptations to viewing trends and market engagement will be essential in the years to come. As stakeholders navigate this complex terrain, a vigilant focus on innovation in distribution and storytelling will be crucial to reclaiming audiences both domestically and abroad.