When reporters, sales agents and acquisition execs from key territories take to Unifrance’s Rendez-Vous in Paris, which runs Jan. 10-17, global development will be on everybody’s mind. If Gallic exports never did reach pre-pandemic highs in 2022– the first year, we need to note, that numerous theatrical markets ran without interruption– the local market hung on all the same.At home and abroad, franchises and feel-good fare drove theatrical returns. The comedy “Serial (Bad) Weddings 3” banked 2.4 million local admissions, ending the year as France’s top-grossing domestic title and landed an additional 1.3 million ticket sales in surrounding nations, while the Studiocanal household title “The Wolf and the Lion” opened in more than 50 territories.More from Range In the
U.S., arthouse stalwarts Kino Lorber, Cohen Media Group and Sony Pictures Classics pulled gems from festival slates, with Kino Lorber set to open Pietro Marcello’s Directors ‘Fortnight opener” Scarlet “and Sony Pictures Classics to release the Cannes-acclaimed, Mia Hansen-Løve directed “One Fine Morning”in the months to come.Meanwhile, Super– a shop label run by hip distributor Neon– got France’s international Oscar submission “Saint Omer”quickly after the movie won the Silver Lion in Venice, and will launch the Alice Diop-directed title on Jan. 13– right in the heart of Oscar election ballot.”The continuous advancement of the market requires continuous tracking, “says Orange Studio head of sales Charlotte Boucon, who brokered the offers for both”Serial( Bad )Wedding Events 3″and” Scarlet,” among others.”French family movies are commonly recognized throughout the world and continue to do fairly well, and at Orange Studio, we aim to have at least one strong theatrical player per year. Undoubtedly, we enjoy to have more, however such movies need a lot of assistance, specifically in regards to worldwide circulation.” Story continues
Calling such fare “part of Orange Studio’s DNA,” the sales officer thinks that crowd-pleasing funnies can leave a significant worldwide footprint. “Globally, there is always an appetite for high-concepts,” Boucon continues. “And this remains a genre able to launch franchises.”
Orange Studio will launch the family experience “A Cat’s Life” at this year’s Unifrance Rendez-Vous, signing up with a swath of Gallic clothing that use the annual display to flex more business muscles.
” [The Rendez-Vous] doesn’t take on Berlin, Cannes or Venice, and that’s not our goal,” says Unifrance’s handling director Daniela Elstner. “We are a market, with films that do not always go to those celebrations, but that do well in theaters which sell very well.”
Still, as the Rendez-Vous marks its 25th year and as it stands to invite a bigger in-person delegation than in the 2 previous editions– this year’s showcase brings even more market heft– the event will indicate such gravitas by opening with the world premiere of François Ozon’s “The Crime Is Mine.”
“For the past few years, we’ve been asked to open with a huge premiere,” Elstner says. “We will welcome purchasers from all over the world, and we want them to leave the screening knowing the promise of French movie theater, alongside the extremely artists who will be on-hand.”
Led by increasing stars Rebecca Marder and Nadia Tereszkiewicz and backed by Isabelle Huppert and Dany Benefit in supporting roles, “Criminal offense,” embeded in 1930s Paris, includes a movie producer and murder, and recollects the effervescent highs of Ozon’s “8 Ladies” and “Potiche.” “The Criminal offense Is Mine” might extremely well best the worldwide record of last year’s opener, “Simone: A Female of the Century,” which scored more than 2 million admissions in France and offered to Samuel Goldwyn Films stateside.
“We want to showcase movies that bind and connect,” Elstner says. “François Ozon’s films are known for their success and ticket office efficiency, which fits with our mission. We need to satisfy our purchasers, so that they leave thinking to themselves how terrific French cinema can be.”
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