In 2022, hexagonal films federated 27 million spectators outside the national borders. A very strong result of the pre-Cavid decade.
French films (produced mainly by French producers, in French or foreign language) brought together, in 2022, 27 million spectators indoors outside the national borders, generating 167.8 million euros in revenue. As for those made only in French, they represented 19.6 million admissions.
If unifrance, the association responsible for promoting cinema and tricolor audiovisual in the world, was welcomed, Tuesday, January 10, of this slight rebound after the pandemic of Covid-19 (the figures had fallen at their lowest Historical level in 2020 and 2021), French feature films are still very little and less and less. These entries are 57.6 % lower than the average between 2012 and 2022, and in a fall of 64.7 % compared to the pre-Pandemic decade (2009-2019).
Above all, the comparison compared to the huge Hollywood machine remains particularly cruel. American films represented, in 2022, 61.5 million admissions just in France (40.5 % of places). Apart from the United States, “French films are doing better than those of other nationalities”, assures Daniela Elstner, Director General of Unifrance. 2> “Luc Besson”
Last year, Comedy What did we all do to the good Lord? was the best hexagonal in the indoor hexagonal success (1.82 million admissions), in front of the cartoon pil (1.32 million) and the family adventure film The wolf and the lion (1.26 million). Then come another animated film, the world tour in eighty days, the comedy Le Trésor du Petit Nicolas and the film on a lionceau, King, with between 500,000 and 1 million admissions. Sign that comedy, animation and adventure films have a great season, while other genres, including drama, lose ground.
Germany rose to first place in countries with the largest number of spectators of French films (2.8 million admissions). In addition, Western Europe remains, with 12.2 million admissions, the first geographic area on this criterion. Central and eastern Europe captures 7 million spectators, ahead of Latin America (3.4 million) and North America (1.7 million). Dark year on the other hand for Asia, the Chinese market being still considerably affected by the pandemic.
“The Luc Besson effect” plays in these statistics, since the director’s own films or those he produced can, depending on the year, spray the results of Unifrance. In 2012, Taken 2 concentrated 47 million admissions outside France, Lucy culminated at 56 million in 2014, Taken 3 reached 43 million in 2015, while Valérian and the City of the Thousand Planets crossed the Cap des 30 million in 2017. Since that date, no one has doped so much export sales.
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