Global media - Paper Answers

FOCUS-2010 focus2005-11 Focus20145 focus2019 Focus20161 Focus20111

India movie industry (1998-2019) background on the country India domestic Market shares India film admission & box office movies attendance movies production write chronological order through the governmental changes and laws that affected the industry and in between, I mentioned films that were important whether because they made a lot of money or got critical attention or were internationally recognized just google the top grossing films of your country from 1998-2019 look at the films that have won awards then pull those films up on Wikipedia and read the production the wiki article read about the production and see if it was coproduced, where money came from top grossing films, co-productions, stat funded or private, laws that affect industry, presidents that help or hurt industry, trade relations with the us and India Those are the factors that will affect film industry The bibliography must have at least 20 sources (not including any sources assigned for the course). The type and use of sources will be discussed in class. Briefly, sources must include scholarly ones. Scholarly sources are usually articles and books written by writers with some expertise in the area of discussion, and are usually published in professional journals. You can also use newspaper sources, but not all newspaper articles will qualify as scholarly. Some internet sources are acceptable, some are not. Generally speaking, if a source has been published in a scholarly journal or book, AND it is available on the internet (such as through the databases available through the QC library), that counts as a scholarly source. Wikipedia is not a scholarly source. However, Wikipedia may be helpful as you begin your research, to give you some information about a topic, and it may provide sources that you can look at as you continue your research.

ché mondial du !

Imprimé sur papier labélisé issu de forêts gérées durablement.
Printed on paper from sustainably managed forests.

With its key indicators, FOCUS 2010 gives you a
complete overview of the fi lm industry worldwide,
and highlights new and up-and-coming areas such
as Latin America and the Middle East.

It is an indispensable guide to understanding
the undercurrents and changes in the interna-
tional market, in a context where it has become
vital to anticipate changes as they happen, to
adjust strategies.

Jérôme Paillard
Executive Director

Le FOCUS 2010 vous offre, avec ses indi cateurs
clés, une vue d’ensemble de l’industrie du cinéma
mondiale, et met en valeur de nouveaux terri-
toires en pleine expansion, comme l’Amérique
Latine ou le Moyen-Orient.

Un guide indispensable pour comprendre
les courants et les évolutions du marché inter-
national, dans un contexte où il devient indis-
pensable d’anticiper les mutations en cours pour
ajuster ses stratégies.

Jérôme Paillard
Directeur Délégué

FOCUS 2010 World Film Market Trends, appears
for the thirteenth consecutive year. We are pleased
to collaborate once again with the Marché du Film
and value highly our work together.

Wolfgang CLOSS
Executive Director
European Audiovisual Observatory

The European Audiovisual Observatory was set
up in December 1992. It is a public-service body
whose mission is to gather and distribute information
on the audiovisual industry (fi lm, television, video
and multimedia) in Europe. 3

European states are
members, along with the European Community repre-
sented by the European Commission. The Observatory
operates within the framework of an extended par-
tial Agreement of the Council of Europe. It carries
out its mission with the help of a network of part-
ners, correspondents and professional organisa-
tions. The Observatory provides information on
markets, fi nancing and legal aspects of the audio-
visual sector.

!”Internet site (http://www.obs.coe.int)

FOCUS 2010, Tendances du marché mon-
dial du film, paraît pour la treizième année
consécutive. Nous nous réjouissons de cette colla-
boration avec le Marché du Film, à laquelle nous
portons toute l’estime qu’elle mérite.

Wolfgang CLOSS
Directeur exécutif
Observatoire européen de l’audiovisuel

Créé en décembre 1992, l’Observatoire euro-
péen de l’audiovisuel est un organisme de service
public consacré à la collecte et à la diffusion de
l’information sur l’industrie audiovisuelle (cinéma,
télévision, vidéo et multimédia) en Europe. 36 Etats
européens en sont membres ainsi que la Communauté
européenne représentée par la Commission euro-
péenne. L’Observatoire fonctionne dans le cadre
d’un Accord partiel élargi du Conseil de l’Europe et
remplit sa mission avec un réseau de partenaires,
de correspondants et d’organismes professionnels.
L’Observatoire fournit des services d’informations sur
les marchés, les fi nancements et le cadre juridique
du secteur audiovisuel.

!”Site Internet (http://www.obs.coe.int)

Editor: Martin Kanzler
martin.kanzler@coe.int
Analyst, Department for Information on Markets and Financing, European Audiovisual Observatory

Editorial

LEAD ARTICLE
Public Aid for

Digital Cinema

The Lead Article takes a look at the
legal questions raised by public support
mechanisms aimed at facilitating the
digitisation of cinemas. It looks at the
legal construction and problems of three
di! erent variants of national funding
schemes and at the EU law with which
these constructions eventually need to
comply. It also describes two state aid
schemes that have already been approved
by the EU Commission and a tax incentive
scheme currently under investigation.
Finally, the Lead Article points the way
ahead by explaining ongoing policy and
funding activities of the EU.
• Digital Cinema
• State Aid for the Digitisation of Cinemas
• EU Actions

RELATED REPORTING
Reality Check for Digital Roll-out
The Related Reporting supplements the
information contained in the Lead Article
and compares EU policy with the reality
of promoting (or struggling with) digital
cinema in various countries.
• Aims and Concerns
• Spring Boards
• Stumbling Blocks

ZOOM
Market Data
The Zoom section equips you with a
solid understanding of the market of
commercial digital cinema screens and
sites by providing concrete ” gures on
their country by country development
in Europe.

Digital Cinema

IRIS plus – Digital Cinema:

• Electronic edition
ISBN 978-92-871-6846-

! 33 –

• Print editi

ISBN 978-92-871-6838-2
! 24,50

• More information:
www.obs.coe.int/oea_publ/iris/iris_
plus/publ_iplus2_20

• At the Marché du Film 2010
in Cannes available on the stand of
the Observatory: Palais des Festivals,
Riviera Booth A6

• Order on line at:
http://www.obs.coe.int about/order

• Order by email:
orders-obs@coe.int

• Order by fax:
+33 (0) 3 90 21 60 1

76 Allée de la Robertsau F – 67000 STRASBOURG
Phone +33 (0) 3 90 21 60 00 – Fax +33 (0) 3 90 21 60

www.obs.coe.int

is part of

RIS plus Digital Cinema:

Introduction 7

World

Europe
European Union

France

Germany

Italy

Spain 2

United Kingdom

Russian Federation

Other Western Europe

Nordic Countries

Central and South-Eastern Europe

Poland

Turkey

Americas
North America

Latin America

Australia

Asia

China

Japan

India

South Korea

Africa

Middle East

Sources 64

Contents

Introduction

The pace of cinema digitisation in Europe is undoubtedly quite surprising. Ten years after
the unveiling of the fi rst equipment, it seemed
to be very slow but, to the surprise of many,
accelerated in the latter half of 2009. According
to Screen Digest, the number of digital screens
worldwide went up by 89% in 2009 and repre-
sented about 15% of all modern screens at the
end of December.

The role of James Cameron’s fi lm Avatar in
this development is undeniable. What is para-
doxical about this pleasantly ecological fi lm is
that it is in fact itself, the terrible weapon of the
logic that it illustrates: the destructive effi ciency
of technologies once blindly unleashed on tradi-
tional environments. At this point in time, many
European cinema professionals suddenly feel just
as threatened as the Na’vi in Avatar.

Various elements have contributed to this
acceleration of the digitisation process: the des-
ignation of the DCI format as the international
standard, the development and propagation of
the Virtual Print Fee (VPF) model by which dis-
tributors contribute, through third-party investors,
to fi nancing the digitisation of cinemas, and the
arrival of 3D, which fi nally provided ex hibitors with
a commercial argument by offering the public a
new cinema experience. The history of the cinema
teaches us that major innovations become fairly
quickly established throughout the world cinema
system as soon as the costs are borne by the
majors and the big cinema networks. The move
to digital is now clearly underway and it is impos-
sible to see anything that could stop it.

There is no reason to doubt that the digi tisation
of distribution is a step in the right direction. Like
the development of multiplexes around ten years
ago, the DVD and, more recently, Blu-ray and
video on demand, digital cinema is an aspect of
the modernisation of distribution that helps to
keep the industry in good health.

However, this enthusiasm must not blind
us to the risks inherent in the transition. These
risks are obvious as far as something dear to the
hearts of cinema professionals, cinéphiles and

cinema policy-makers worthy of the name is
concerned: the existence of a network of inde-
pendent cinemas that ensure the diversity of
the fi lms offered and the circulation of minority
interest works – European fi lms and fi lms origi-
nating from production and distribution chan-
nels other than the Hollywood based compa-
nies, such as Asian, Indian, South American and
African fi lms and independently produced fi lms
from North America or Oceania.

The conference entitled “The independent
exhibition and the challenges of digitisation”
organised in Barcelona (4-6 March 2010) by the
Spanish presidency of the European Union served
to highlight the concerns of independent exhibi-
tors and the diffi culties in introducing national or
European policies. (1) The participants agreed that
it was preferable for the transition process to be
as short as possible since it led to cost duplication
and therefore delayed achieving the economies
of scale that could be generated for the benefi t
of the fi nancially weakest.

Risk assessments for the fi lm exhibition sector
in the European Union have been produced by
the European Investment Bank, according to
whose fi gures 4.4% of screens are already digi-
tised without recourse to the VPF. In most cases,
these are screens belonging to certain major cir-
cuits that have decided to fi nance their transition
themselves. About 5 400 screens out of 30 185
(or approx.17%) are allegedly unable to access
the VPF system. However, this estimate presup-
poses that the integrators’ rollout potential has
been fully achieved. The integrators have already
signed agreements for 4.7% of screens and are in
negotiations with distributors for another 15.2%.
In addition to the 17% considered at risk, there
are accordingly more than 17 500 cinemas (or
58%) for which the validity of the VPF model
still has to be demonstrated. This means there
are considerable uncertainties. The fi nancial situ-
ation of the third party integrators is not under
discussion here but it seems clear that these
new players are dependent on access to bank
loans, which has been made more diffi cult by
the crisis.

Saving Na’vi cinemas

(1) All the documents, speeches and conclusions of the conference are available at the Spanish Presidency’s website:
http://en.www.mcu.es/MC/PresidenciaUE2010/Conferencias/ImpactoTecnologia.html

Links to sources of information and reference documents can be found at the European Audiovisual Observatory’s website:
http://www.obs.coe.int/medium/digitalcinema_europe_links.html

8
Introduction

In this context, it is now admitted that the VPF
model, in its different guises, is not universal and
that alternative models need to be developed. The
ideal is clearly for the exhibitors to be able to fi nance
the transition themselves, which would potentially
strengthen their programming autonomy. However,
there can be no doubt at all that the fact that invest-
ment capacities are often limited and the VPF model
is not systematically applicable constitutes a failure
of the market that justifi es public intervention. It
is against this background that public bodies at
the European, national, regional and local levels
are trying to come up with solutions to support
the transition. In September 2009, the Council of
Europe Committee of Ministers adopted a recom-
mendation on national fi lm policies, which states
in particular that “public policies should urgently and
proactively take into account the need to support the
emergence of business models for digital fi lm and the
development of new platforms and services for European
cinema. Such models should respect the diversity and
specifi city of cinemas in Europe and of their program-
ming, and make sure that distributors keep control
of release plans. Models should also ensure that all
theatres wishing to engage in such a ‘digitisation
process’ can do so in a co-ordinated way, and within
a reasonable timeframe. European participation in the
ongoing international digital cinema standards defi ni-
tion process should be strengthened and enforcement
of these standards should be ensured.”

The Barcelona conference illustrated the diver-
sity of the solutions explored:

• At the European level, the European Commission
launched a consultation of professionals in late
2009. The results should lead to the publica-
tion by the Commission of a Communication
on Opportunities and Challenges for European
Cinema in the Digital Era and the incorpora-
tion next autumn within the MEDIA 2007
Programme of a new support scheme for the
digitisation of cinemas offering substantial
European programming. Possible funding is
also available, under certain conditions, through
the structural funds, which involves the pre-
sentation of dossiers by the regions and not
the exhibitors. The European Investment Bank
is also starting to become involved. In the fi rst
instance, it is supporting the market solutions
by facilitating access to funding (especially for
the integrators). It then envisages becoming
involved by supporting the other European

and national public initiatives to assist with
the transition those cinemas that are unable
to access the VPF model.

• At the national level, several support schemes
are already in operation. In the United Kingdom,
the UK Film Council launched its Digital Screen
Network scheme in 2005. In Norway, the
Film&Kino network of municipal cinemas
launched its scheme in 2006 and negotiates
VPF agreements directly with the majors. In
Finland, the new measures for supporting the
cinema industry, which were approved by the
European Commission in 2008, include aid for
cinema digitisation. In Sweden, the Swedish
Film Institute launched a pilot project to sup-
port the digitisation of 28 cinemas in 2009. In
the Czech Republic, the State Fund for Support
and Development of Cinematography launched
a support programme in 2009. In Slovakia, a
new fund was created in December 2009. In
the Netherlands, in February 2010, the new
Eye Film Institute has assigned the implemen-
tation of a project to PriceWaterhouse and this
should commence in July 2010.

• At the regional level, the Land of Bavaria set
up a support system in 2009. In Poland, the
region of Ma!opolska (Cracow) has succeeded
in obtaining aid from the Community struc-
tural funds as part of a project to develop
tourism and the cultural industries.

• At the local level, there are a few municipali-
ties that provide support for the digitisation
of cinemas located in their area.

In several countries, support schemes have run up
against political or legal diffi culties. (2) In Germany,
negotiations on the implementation of a support
scheme worth 40 million euros, proposed in June 2009
by the Federal Film Board (Filmförderungsanstalt –
FFA), was rejected in November 2009 by the fed-
eration of exhibitors, which does not accept the
principle of this support being offered in exchange
for the withdrawal of the exhibitors’ complaint to
the Federal Constitutional Court concerning their
alleged unequal treatment: their contribution to the
funding of the FFA is compulsory, whereas that of
the television broadcasters is voluntary. In Italy, the
tax credit plan proposed by the government in 2009
for the installation of digital projection equipment is
being investigated by the European Commission’s
DG Competition. At the beginning of April 2010, the
Commission had not yet issued its opinion. Finally,

(2) For a detailed analysis of the legal aspects of this question, see Digital Cinema, IRIS Plus, European Audiovisual Observatory, April 2010.

ONE FILM, ONE NUMBER, WORLDWIDE
ISO 15706

NL
ISAN Österreich

More Registration Agencies on www.isan.org
ISAN International Agency founded by AGICOA, CISAC and FIAPF

10
Introduction

in France the plan for a mutual fund drawn up by the
CNC in 2009 has had to be abandoned in response
to the Opinion of the Competition Authority, which
held that the system would have caused signifi cant
distortion of the market for funding the transition.
The CNC was therefore forced to propose an alter-
native plan in March 2010.

The procedure opened by the Commission on
the Italian case is particularly important for the
whole of Europe: the Commission has to assess
the compatibility of tax credits for exhibitors with
Article 83(3)(c) of the EC Treaty or with the excep-
tion in the case of aid to promote culture provided
for by Article 87(3)(d). The Commission accord-
ingly has to check the need for the aid as well as
its proportionality and relevance. The various com-
ments sent to the Commission by the national agen-
cies and professional bodies tend to support the
need for public assistance and agree that the Italian
government’s proposal is appropriate.

The focus of the European debate is on the
support available to fi lm exhibition companies to
enable them to fi nance their equipment. However,
the impact of the transition on the different areas
of the sector should not be underestimated: not
only the impact on the technical industries – we
are likely to witness the disappearance of print pro-
duction facilities in a few years’ time – but also on
distri bution and production. The rapid increase in
cinema digitisation that took place in the second half
of 2009 is forcing the independent distributors and
sales agents to speed up making their own strategic
choices. At the same time, the political and legal
uncertainties affecting the transition timetable of
the independent cinemas is a destabilising factor.
The very nature of the business of managing the
scarcity of prints is about to change, since digiti-
sation will radically alter ways of accessing fi lms.
These uncertainties as far as distribution is con-
cerned are clearly having an impact at the level of
independent production, which is also going to
be hit by the additional costs involved during the
transition period and will probably also be affected
by the uncertainties of the timetable. (3) All this
will be compounded by the diffi culty in Europe in
responding to the announced fl ood of productions
in 3D, a technology that requires big development
and production budgets if it is to be successfully
exploited. Some European producers of animated
fi lms are taking risks in this area but the market
share effects produced by Hollywood observed

in 2009 and the fi rst quarter of 2010 are likely to
continue in the months and years ahead.

It seems urgent that the European fi lm industry
emerge from the present confusion and for a time-
table for completing the transition to be deter-
mined by mutual agreement between the parties.
It is striking to compare the methods employed
for the digital transition in the cinema sector with
those of the television sector, where Europe has
succeeded in laying down its standards, regula-
tory framework and transition timetable, with tran-
sition already completed in some countries and
proceeding smoothly in most of the others. As far
as the cinema is concerned, Europe has had no
alternative but to adopt de facto the DCI standard
chosen by the American distributors and registered
as ISO standard, and it is still very diffi cult to estab-
lish common legal rules and a timetable. European
television is a sector dominated by a few big pri-
vate and public groups with signifi cant planning
and investment capabilities, and the issue of the
release of spectrum used for analogue transmission
has stirred the institutions and economic players
into action. Despite the existence of a number of
integrated groups, the European cinema sector,
whether it be production, distribution or fi lm exhi-
bition, is still essentially one made up of micro- or
even nano- companies with low profi tability and
weak investment capabilities.

It may be this structural fragility that accounts for
the charm and romanticism of European fi lm industry.
This fragility, creative and rich in many different tal-
ents, enables it to lay claim to being an alternative
to the Hollywood model, which, despite everything,
is still dominated by planning and rationalisation.
However, if Europe wants to continue to offer the
world the wealth of its cinema, it is important for it
to succeed in bringing about mutual co-operation
between all the sector components, both public and
private, in order to ensure a smooth transition. We
believe this applies all the more because the dig-
ital surge defi nitely poses a threat to other Na’vi
tribes worldwide whose resistance and investment
capabilities are still weak and because the alterna-
tive European model is being monitored with great
interest in other parts of the world.

André Lange
Head of the Department for Information
on Markets and Financing
European Audiovisual Observatory

(3) It should be noted that the Council of Europe’s Eurimages Fund offers producers fi nancial assistance for the production of digital masters.

World

Admissions | 2005-2009
In millions.

Gross box offi ce | 2005-2009
In USD million. National currencies converted at average annual interbank exchange rates.

Sources: MPAA, OBS, EIREN, Screen Digest

Sources: MPAA, SARFT, EIREN, OBS

North America

EU 27 e

China e

Japan

Japan
China e

World

Number of screens | 2005-2009

Sources: OBS, MPAA, EIREN, SARFT

Number of digital and

3D screens

| 2008-2009

Sources: MPAA, Screen Digest

(1) Excluding drive-in screens.

(2) Modern screens.

US (1)

Digital 2D screens

Digital 3D screens

EU 27 e

China (2)

Japan

World

(1) Still on release in 2010. Sources: Variety, OBS
(2) Films available in 3D distribution.

(1) Revised series.

Top 20 fi lms worldwide by gross box offi ce | 2009
USD million.

Number of feature fi lms produced in the European Union,
the United States and Japan | 2005-2009

(1) Revised series

Sources: OBS, MPAA, EIREN

EU 27 fi lms
produced e

US fi lms
produced (1)

Chinese fi lms
produced
Japanese
fi lms released

Original title Studio
Country
of origin

North American
box offi ce

International
box offi ce

Total

1 Harry Potter and the Half-Blood Prince Warner Bros. GB inc/US 302 632 934
2 Avatar (1) (2) Fox US/GB 352 547 899
3 Ice Age: Dawn of the Dinosaurs (2) Fox US 197 691 888
4 Transformers: Revenge of the Fallen Paramount US 402 433 8

5 2012 (1) Sony US/CA 163 591 754
6 Up (2) Disney US 293 417 710
7 New Moon (1) Summit US 288 400 688
8 Angels & Demons Sony US 133 352 485
9 The Hangover Warner Bros. US/DE 277 190 467

10 Night at the Museum: Battle of the… Fox US/CA 177 238 4

11 Star Trek Paramount US 258 128 386
12 Monsters vs. Aliens Par- D’Works US 198 183 381
13 X-Men Origins: Wolverine Fox US 180 195 375
14 Terminator Salvation WB-Sony US 125 247 372
15 Fast & Furious Universal US 155 208 3

16 Inglourious Basterds Weinstein-U US/DE 121 199 3

17 The Proposal Disney US 164 153 3

18 A Christmas Carol (1) Disney US 137 174 311
19 G.I. Joe: The Rise of Cobra Paramount US/CZ 150 152 302
20 G.Force Disney US 119 165 284

European Union

Admissions near 1 billion
3D and a generally strong line-up of titles helped

European Union admissions grow by 6%, with an
estimated 981.1 million tickets sold in 2009. This
represents the highest level since 2004. Rapid growth
in the number of 3D screens allowed 3D blockbusters
to create strong interest among audiences and rea-
lise their full potential, with Ice Age 3, Up and Avatar
selling a cumulative 86 million tickets throughout
the EU. All three titles made it into the top 5 fi lms
of the year. Premium prices for 3D screenings also
drove up average ticket prices, generating an esti-
mated EU gross box offi ce total of EUR 6.27 billon
(USD 8.72 billion), an impressive 12% year-on-year
increase and the highest level on record. 2009 was
also a year in which the European cinema landscape
was more than ever dominated by blockbusters, with
the number of fi lms generating more than 5 million
admissions increasing from 34 to 42 and market
share for the top 100 fi lms increasing from 69% to
75%. Theatrical markets which performed particu-
larly well were Germany, up 13.1%, France (+5.7%)
and the United Kingdom (+5.6%).

EU production continues to grow

2009 saw EU production levels continue to grow,
though at a slower pace, despite a diffi cult eco-
nomic environment. The European Audiovisual
Observatory estimates that 1 168 feature films
were produced within EU member states in 2009,
28 fi lms more than 2008, and a new record high.
Overall growth was primarily the result of a strong
increase in German fi ction fi lms, growing from 96
fi lm releases in 2008 to 129 in 2009 (+33). Overall,
the number of European fi ction fi lms increased from
859 in 2008 to 887 (+28) while the pro duction of
theatrical feature documentaries remained stable
at 281 productions. Fiction fi lms accounted for
an estimated 80% of total European production
volume, feature documentaries for around 20%.

With 194 feature fi lms released in 2009, including
65 feature documentaries, Germany became, for
the fi rst time in recent history, the country with the
highest production output in Europe, followed by
former leader France, which saw production levels
fall from 196 features to 182.

European fi lms’ share slightly down
European fi lms achieved an estimated market

share of 26.7%, down from 28.2% in 2008. Market
share for European fi lms produced in Europe with
incoming US investment, such as Harry Potter and
the Half Blood Prince, decreased slightly from 4.4% to
4.2%. Market share for US fi lms climbed from 65.6%
to an estimated 67.1%. The most successful European
fi lms without incoming US investment were Slumdog
Millionaire, attracting an audience of over 16 million
people, followed by Swedish thriller Män som hatar
kvinnor (The Girl with the Dragon Tattoo) which sold
6.6 million tickets across the European Union.

EU digital screen base takes off
According to fi gures provided by MEDIA Salles

the number of digital screens in the European Union
more than tripled in 2009, growing from 1 335
in 2008 to 4 134 digital screens. 3D proved to be
the single most important force for digital conver-
sion in 2009. On average there were 2.1 digital
screens per digital cinema site. With 904 instal-
lations, France overtook the UK to become the
clear leader with regard to digital roll-out in the
EU, followed by the UK (668) and Germany (592).
There were 2 723 digital 3D screens operational by
year-end, representing 66% of the total EU digital
screen space.

Sources: OBS, MEDIA Salles

Information on the number of European digital screens is provided
by MEDIA Salles and refers uniquely to digital screens equipped

with DLP Cinema and Sony 4K technology.

Population 2009 e 501.3 million
GDP per capita 2009 e 30 609 USD
Gross box offi ce 2009 (billion) e 6.27 bn EUR (8.72 bn USD)
Admissions 2009 e 981.1 million
Average ticket price 2009 e 6.39 EUR (8.89 USD)
Average admissions per capita 2009 1.96
Screens 2008 | 2009 29 225 | ~
Screens in multiplexes 2008 | 2009 e 40.9% | ~
Digital screens 2008 | 2009 1 335 | 4 134
3D screens 2008 | 2009 e ~ | 2 7

Market shares 2009 e

67.1%

Others
2.0%

European fi lms
26.7%

EUR inc/US
4.2%

15
European Union

Number of feature fi lms produced in the European Union | 2005-2009
In units.

prov.
Country 2005 2006 2007 2008 2009 Sources

Austria 100% national fi ction 5 8 4 7 7 OFI

maj. co-prod. fi ction 4 8 2 7 5 OFI
min. co-prod. fi ction 3 0 6 3 5 OFI
Feature documentaries 18 17 20 13 17 OFI

Belgium e

100% national fi ction 10 11 20 14 13 MFB, OBS
maj. co-prod. fi ction 10 14 11 15 15 MFB, OBS
min. co-prod. fi ction 20 32 28 30 23 MFB, OBS
Feature documentaries 6 12 15 20 23 MFB, OBS

Bulgaria 100% national fi ction 2 4 4 2 8 NFC
maj. co-prod. fi ction 1 3 1 3 0 NFC
min. co-prod. fi ction 3 3 2 4 3 NFC
Feature documentaries 7 5 3 6 0 NFC, OBS

Czech 100% national fi ction 17 28 18 18 21 Min.Cult.
Republic maj. co-prod. fi ction 4 1 5 5 8 Min.Cult.
min. co-prod. fi ction 6 6 0 4 4 Min.Cult.

Feature documentaries 4 10 7 12 12 Min.Cult.

Denmark 100% national fi ction 11 13 8 13 14 DFI
maj. co-prod. fi ction 9 7 9 7 7 DFI
min. co-prod. fi ction 4 4 7 6 7 DFI
Feature documentaries 7 9 4 4 2 DFI

Estonia 100% national fi ction 6 5 7 3 2 EFSA, OBS
maj. co-prod. fi ction 0 3 2 3 1 EFSA, OBS
min. co-prod. fi ction 0 2 0 1 3 EFSA, OBS
Feature documentaries 2 1 3 6 9 EFSA, OBS

Finland 100% national fi ction 8 12 9 9 12 FFF
maj. co-prod. fi ction 3 5 5 4 4 FFF

min. co-prod. fi ction 4 6 3 5 4 FFF
Feature documentaries 4 3 4 1 5 FFF

France 100% national 126 127 133 145 137 CNC
maj. co-prod. 61 37 52 51 45 CNC

min. co-prod. 53 39 43 44 48 CNC

Germany 100% national fi ction 60 78 77 81 87 SPIO
maj. co-prod. fi ction 18 20 16 15 42 SPIO

min. co-prod. fi ction 25 24 29 29 21 SPIO
Feature documentaries 43 52 50 60 70 SPIO

Greece e 100% national 21 18 20 25 20 GFC, OBS
maj. co-prod. 2 2 0 3 5 GFC, OBS

min. co-prod. 1 2 5 2 0 GFC, OBS

Hungary 100 % national 17 37 26 25 22 Min.Cult., AHFD, NFO
maj. co-prod. 1 9 2 1 1 Min.Cult., AHFD, NFO

min. co-prod. 8 0 0 4 4 Min.Cult., AHFD, NFO

Ireland 100% national fi ction ~ ~ 5 7 8 IFB
maj. co-prod. fi ction ~ ~ 3 6 6 IFB
min. co-prod. fi ction ~ ~ 2 12 6 IFB
Feature documentaries ~ ~ 13 14 13 IFB

Italy 100 % national 70 90 93 128 101 CCH
maj. co-prod. 13 12 16 18 14 CCH

min. co-prod 15 15 14 9 18 CCH

Latvia 100% national fi ction 0 0 5 3 4 NFCL
maj. co-prod. fi ction 1 2 0 0 1 NFCL

min. co-prod. fi ction 0 2 1 1 1 NFCL
Feature documentaries 1 2 1 3 9 NFCL

Continued overleaf

European Union

Lithuania 100% national fi ction 0 1 2 6 5 Min.Cult., Baltic Films
maj. co-prod. fi ction 1 2 0 0 1 Min.Cult., Baltic Films
min. co-prod. fi ction 1 0 1 1 0 Min.Cult., Baltic Films

Luxembourg 100% national fi ction 1 0 0 0 1 LFF
maj. co-prod. fi ction 1 3 2 0 4 LFF

min. co-prod. fi ction 11 9 2 11 12 LFF
Feature documentaries 0 2 4 2 1 LFF

The 100% national fi ction 23 16 27 22 27 NFF, NVF, OBS
Netherlands maj. co-prod. fi ction 5 6 4 6 5 NFF, NVF, OBS
e min. co-prod. fi ction 3 8 8 18 6 NFF, NVF, OBS

Feature documentaries 20 17 10 17 14 NFF, NVF, OBS

Poland 100% national fi ction 19 23 30 28 31 PISF, Min.Cult., OBS
maj. co-prod. fi ction 2 1 4 4 7 PISF, Min.Cult., OBS
min. co-prod. fi ction 2 2 5 8 4 PISF, Min.Cult., OBS

Feature documentaries 0 1 1 5 0 PISF, Min.Cult., OBS

Portugal 100% national fi ction 8 3 8 7 9 ICA
maj. co-prod. fi ction 3 11 4 6 3 ICA

min. co-prod. fi ction 4 7 0 1 2 ICA
Feature documentaries 8 13 3 2 9 ICA

Romania 100% national fi ction 9 14 9 7 11 CNC
maj. co-prod. fi ction 2 1 0 2 3 CNC
min. co-prod. fi ction 9 3 3 2 4 CNC

Feature documentaries 0 0 2 2 1 CNC, OBS

Slovakia 100% national fi ction 1 0 3 1 1 SKFI
maj. co-prod. fi ction 1 0 2 3 5 SKFI
min. co-prod. fi ction 4 2 3 3 7 SKFI

Feature documentaries 2 1 2 5 5 SKFI

Slovenia 100% national fi ction 6 1 4 9 3 FSRS
maj. co-prod. fi ction 1 0 4 0 0 FSRS
min. co-prod. fi ction 2 3 3 3 1 FSRS

Feature documentaries 1 0 2 3 2 FSRS

Spain 100 % national 89 109 115 124 135 ICAA
maj. co-prod. 29 23 26 26 22 ICAA

min. co-prod. 24 18 31 23 29 ICAA

Sweden 100% national fi ction 27 29 15 8 ~ SFI, OBS
maj. co-prod. fi ction 15 12 10 13 ~ SFI, OBS
min. co-prod. fi ction 8 2 7 1 ~ SFI, OBS

Feature documentaries 3 3 5 14 ~ SFI, OBS

United 100 % national 51 55 70 77 71 UKFC, OBS
Kingdom maj. co-prod. 12 18 15 10 5 UKFC, OBS

min. co-prod. 53 33 13 12 17 UKFC, OBS
Inward feature (1) 48 28 26 18 23 UKFC, OBS

Total fi ction fi lms EU 27 e (2) 714 822 808 859 887 OBS
Total feat. documentaries EU 27 e (3) 197 221 236 281 281 OBS
Total feature fi lms EU 27 e 911 1 043 1 044 1 140 1 168 OBS

prov.
Country 2005 2006 2007 2008 2009 Sources
Number of feature fi lms produced in the European Union | 2005-2009
In units.

Continued

(1) Excluding inward features involving only VFX work in the UK.

(2) May include feature documentaries in GR, HU.

(3) May double count minority co-produced feature documentaries. No detailed data for
feature documentaries available for ES, IT, GR, HU, LT, RO.

17
European Union

prov.
Country 2005 2006 2007 2008 2009 2009/08 Sources
Austria 15.7 17.3 15.7 15.6 18.4 17.8% FAFO

Belgium e 22.1 23.9 22.7 21.9 22.6 2.9% INS, SGA (2009)

Bulgaria 2.4 2.4 2.5 2.8 3.2 12.2% National Film Center

Cyprus 0.8 0.8 0.9 0.9 0.9 3.9% Min. Ed. Cult., Media Salles

Czech Republic 9.5 11.5 12.8 12.9 12.5 -3.3% Ministry of Culture, UFD

Denmark 12.2 12.6 12.1 13.2 13.9 5.2% DFI, Statistics

Denmark

Estonia 1.1 1.6 1.6 1.6 1.8 9.2% Estonian Film Foundation

Finland 6.1 6.7 6.5 6.9 6.7 -2.4% Finnish Film Foundation

France 175.5 188.8 177.9 190.1 200.9 5.7% CNC

Germany 127.3 136.7 125.4 129.4 146.3 13.1% FFA

Greece 12.7 12.8 13.8 11.8 12.3 3.9% Media Salles

Hungary 12.1 11.7 11.1 10.4 10.6 2.4% National Film Offi ce

Ireland 16.4 17.9 18.4 18.2 17.7 -3.2% Carlton Screen Advertising, Nielsen EDI

Italy e 105.6 106.1 116.4 111.6 111.2 -0.4% CCH, Cinetel, OBS

Latvia 1.7 2.1 2.4 2.4 1.9 -17.4% National Film Centre

Lithuania 1.2 2.4 3.2 3.3 3.4 3.2% Baltic Films

Luxembourg e 1.2 1.3 1.2 1.1 1.2 4.0% CNA, Media Salles

Malta e 1.0 0.9 1.0 1.0 1.0 1.0% MFC, Media Salles

Poland 23.6 32.0 32.6 33.8 39.2 16.1% boxoffi ce.pl

Portugal 15.8 16.4 16.3 16.0 15.7 -1.7% Instituto do Cinema e do Audiovisual

Romania 2.8 2.8 2.9 3.8 5.3 39.0% Centrul National al Cinematografi ei

Slovakia 2.2 3.4 2.8 3.4 4.1 23.3% Slovak Film Institute

Slovenia 2.4 2.7 2.4 2.4 2.8 15.5% Slovenian Film Fund

Spain 127.7 121.7 116.9 107.8 109.5 1.5% ICAA, OBS

Sweden 14.6 15.3 14.9 15.3 17.4 13.5% Swedish Film Institute

The Netherlands 20.6 23.4 23.1 23.5 27.3 16.0% MaccsBox – NVB & NVF

United Kingdom 164.7 156.6 162.4 164.2 173.5 5.6% Cinema Advertising Association, Nielsen EDI

EU 27 e 898.9 931.6 920.0 925.3 981.1 6.0% European Audiovisual Observatory

Admissions in the European Union | 2005-2009
In millions.

Source: OBS

European Union
Admissions in the European Union | 2005-2009
In millions.

Source: OBS

Source: OBS
Source: OBS

Poland
The

Netherlands

Belgium

France

Denmark

Finland

Romania

Slovakia

United Kingdom

Germany

Italy

Spain

Czech Republic

Greece

Hungary

Lithuania
Bulgaria

Slovenia

Luxembourg
Malta
Cyprus

Latvia
Estonia

Austria
Ireland

Sweden

Portugal

19
European Union

Note: ‘inc’ refers to fi lms produced in Europe with incoming investment from the US. Sources: OBS, LUMIERE

Note: Based on Top 250 fi lms in United States of America and Canada.
‘Inc’ refers to fi lms produced in Europe with US incoming investment. Sources: Variety, OBS

Breakdown of European Union admissions
by the origin of fi lms | 2009 prov.

Admissions to European Union fi lms
on the North American market | 2009 e

Estimated admissions in the United States and Canada based on an average ticket price of USD 7.50.

Other Eur 5.1%

US
65.8%

GB inc
43.5%

Other 0.7%

GB
3

.9
%

IT
3.0%

ES 1.9%

Rest of W
orld 2.0%

U
S/

EU
R

in
c

1.
2%

EU
R

in
c/

U
S

4.
2%

FR
8.7%

GB
28.3%

FR
21.8%

ES
5.7%

DE
4.1%

Total US
+ US/EUR inc

67.1%

Total EUR
excl.incoming

investment fi lms
26.7%

97.2 million
admissions

to European
Union fi lms

6.8% market share
of total Top 250 fi lms

20
European Union

The tables below are provisional rankings on the basis of data from 22 European Union
member states – around 89% of total admissions in the European Union are analysed.

(1) 221 173 admissions in EU in 2008. (2) 2 843 389 admissions in EU in 2008.
(3) 5 873 616 admissions in EU in 2008. Sources: OBS, LUMIERE

(1) 221 173 admissions in EU in 2008.
Note: ‘inc’ refers to fi lms produced in Europe with incoming investment from the US. Sources: OBS, LUMIERE

Top 25 fi lms by admissions in the European Union | 2009

Top 25 European Union fi lms by admissions in the European Union | 2009

Original title
Country
of origin Year Director Admissions

1 Ice Age: Dawn of the Dinosaurs US 2009 C. Saldanha, M. Thurmeier 40 223 466
2 Harry Potter and the Half-Blood Prince GB inc/US 2008 David Yates 33 868 313
3 Up US 2009 Pete Docter, Bob Peterson 23 652 7

4 Avatar US/GB 2009 James Cameron 22 484 740
5 New Moon US 2009 Chris Weitz 22 378 5

6 2012 US/CA 2009 Roland Emmerich 21 554 739
7 Angels & Demons US 2009 Ron Howard 21 108 692
8 Slumdog Millionaire (1) GB 2008 D. Boyle, L. Tandan 16 004 477
9 Inglourious Basterds US/DE 2009 Quentin Tarantino 14 134 503
10 Transformers: Revenge of the Fallen US 2009 Michael Bay 13 781 084
11 The Hangover US/DE 2009 Todd Phillips 12 882 962
12 The Curious Case of Benjamin Button US 2008 David Fincher 12 389 590
13 Night at the Museum: Battle of the Smithsonian US/CA 2009 Shawn Levy 11 586 601
14 Monsters vs. Aliens US 2009 R. Letterman, C. Vernon 10 799 8

15 Fast & Furious 4 US 2009 Justin Lin 10 793 039
16 Bolt (2) US 2008 B. Howard, C. Williams 10 206 785
17 Gran Torino US/AU 2008 Clint Eastwood 9 881 882
18 G-Force US 2009 Hoyt Yeatman 9 408 476
19 X-Men Origins: Wolverine US 2009 Gavin Hood 9 232 078
20 The Proposal US 2009 Anne Fletcher 9 133 874
21 Terminator Salvation US 2009 McG 9 077 827
22 A Christmas Carol US 2009 Robert Zemeckis 8 734 798
23 This Is It US 2009 Kenny Ortega 7 625 990
24 Twilight (3) US 2008 Catherine Hardwicke 7 526 582
25 Seven Pounds US 2008 Gabriele Muccino 7 236 669

Original title
Country
of origin Year Director Admissions

1 Harry Potter and the Half-Blood Prince GB inc/US 2008 David Yates 33 868 313
2 Slumdog Millionaire (1) GB 2008 D. Boyle, L. Tandan 16 004 477
3 Män som hatar… (The Girl with the Dragon Tattoo) SE/DK/DE 2009 Niels Arden Oplev 6 556 6

4 Le petit Nicolas FR/BE 2009 Laurent Tirard 5 876 6

5 Wickie und die starken Männer DE 2009 Michael Herbig 5 687 2

6 Arthur et la vengeance de Maltazard FR 2009 Luc Besson 4 081 302
7 LOL (Laughing Out Loud) FR 2008 Lisa Azuelos 3 929 1

8 Zweiohrküken DE 2009 Til Schweiger 3 600 871
9 Agora ES 2009 Alejandro Amenábar 3 366 916
10 Los abrazos rotos ES 2009 Pedro Almodóvar 3 269 603
11 Planet 51 ES/GB/US 2009 Jorge Blanco, Javier Abad 3 258 992
12 Coco FR 2009 Gad Elmaleh 3 109 677
13 Coco avant Chanel FR 2009 Anne Fontaine 3 043 6

14 Flickan som lekte med elden SE/DK/DE 2009 Daniel Alfredson 2 884 593
15 OSS 117: Rio ne répond plus FR 2009 Michel Hazanavicius 2 652 940
16 Natale a Beverly Hills IT/US 2009 Neri Parenti 2 552 835
17 The Boat That Rocked GB/DE/US/FR 2009 Richard Curtis 2 512 101
18 Neuilly sa mère ! FR 2009 Gabriel Laferrière 2 495 607
19 The Imaginarium of Doctor Parnassus GB/CA/FR 2009 Terry Gilliam 2 441 022
20 Die Päpstin DE/GB/IT/ES 2009 Sönke Wortmann 2 339 213
21 Männerherzen DE 2009 Simon Verhoeven 2 094 192
22 Cado dalle nubi IT 2009 Gennaro Nunziante 2 078 499
23 Safari FR 2009 Olivier Baroux 2 023 3

24 Italians IT 2009 Giovanni Veronesi 1 988 535
25 De l’autre côté du lit FR 2009 Pascale Pouzadoux 1 949 029

21
European Union

Source: MEDIA Salles

Number of digital 3D screens in the European Union
by country | December 2009

Number of digital screens in the European Union
by country | December 2009

Source: MEDIA Salles
Source: MEDIA Salles

22
France

(1) Offi cially recognised fi lms.

Number of feature fi lms produced | 2005-2009

(1) Officially recognised films

Source: CNC

Population 2009 e 64.7 million
GDP per capita 2009 e 39 922 USD
Gross box offi ce 2009 (billion) 1.23 bn EUR (1.71 bn USD)
Admissions 2009 200.9 million
Average ticket price 2009 6.14 EUR (8.53 USD)
Average admissions per capita 2009 3.11
Screens 2008 | 2009 5 418 | 5 522
Screens in multiplexes 2008 | 2009 e 34.6% | ~
Digital screens 2008 | 2009 253 | 904
3D screens 2008 | 2009 ~ | 477

Admissions and gross box offi ce | 2005-2009

Source: CNC
Market shares 2009 e

Total (1)

100% national

Min. co-prod.
Maj. co-prod.

Admissions
(millions)

Gross box offi ce
(EUR million)

Others
63.2%

National
36.8%

France

Top 20 fi lms by admissions in France | 2009

Original title
Country
of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 7 821 650
2 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 6 096 446
3 Avatar US/GB James Cameron 20th Century Fox 5 573 683
4 Le petit Nicolas FR/BE Laurent Tirard Wild Bunch Distrib. 5 462 264
5 2012 US/CA Roland Emmerich Sony Pict. Releasing 4 608 8

6 Up US P. Docter, B. Peterson Walt Disney Studios 4 471 6

7 New Moon US Chris Weitz SND Films 4 117 983
8 LOL (Laughing Out Loud) FR Lisa Azuelos Pathé Distribution 3 649 758
9 Gran Torino US/AU Clint Eastwood Warner Bros. 3 448 009

10 Arthur et la vengeance de Maltazard FR Luc Besson EuropaCorp 3 346 900
11 Coco FR Gad Elmaleh StudioCanal 3 008 677
12 Bolt US Howard, Williams Walt Disney Studios 2 939 074
13 Inglourious Basterds US/DE Quentin Tarantino UIP 2 834 807
14 Twilight US Catherine Hardwicke SND Films 2 798 966
15 Slumdog Millionaire GB D. Boyle, L. Tandan Pathé Distribution 2 694 389
16 The Curious Case of Benjamin Button US David Fincher Warner Bros. 2 606 052
17 OSS 117: Rio ne répond plus FR Michel Hazanavicius Gaumont Distrib. 2 560 290
18 Neuilly sa mère ! FR Gabriel Laferrière UGC Distribution 2 452 007
19 Transformers: Revenge of the Fallen US Michael Bay Paramount Pictures 2 252 691
20 Angels & Demons US Ron Howard Sony Pict. Releasing 2 042 698

Source: Le fi lm français

Distribution and Exhibition
2009 saw French admissions increase to 200 mil-

lion tickets sold, up 5.7% year-on-year and the
highest level since 1982. GBO climbed by 8%
to EUR 1.2 billion (USD 1.7 billion). However, it
was primarily the big, and to a lesser extent, the
mid-sized theatre chains benefi tting from this box
offi ce growth, while smaller cinemas faced fl at rev-
enues, hinting at a growing gap within the coun-
try’s exhibition industry. After an exceptional year
for French fi lms in 2008, national market share
dropped from 45.3% to 36.8%, with admissions
to local fi lms falling by 13.5%. US fi lms, on the
other hand, registered an annual growth of 21.8%
to reach 100 million tickets sold,taking 49.7% of
the market. As in most countries, 3D blockbusters
were a driving force not only for box offi ce growth
but for the accele ration of digital cinema roll-out.
Digital screens increased from only 253 to 904
deployed entities (477 3D screens) by the end
of the year, making France the clear leader in
Europe. After the French Competition Authority’s
opinion according to which the CNC’s proposed
mutual fund scheme to support the digitisation
àprocess unduly distorted competition, the CNC
is currently developing an alternative scheme to
offer public support primarily targeting screens
in circuits of less than 50 screens. The CNC aims

to make its scheme operational in the second half
of the year. As part of the fi ght against copyright
infringements the ‘HADOPI 2’ Act came into force
in October 2009, foreseeing the suspension of
internet access for unlawful downloading when
imposed by a judge. In the same context, release
windows, which are overseen by the government
and the industry in France, were reduced in 2009,
bringing VOD in line with DVD (4 months after
theatrical release) as well as reducing windows
for Pay-TV (12 months) and free-to-air broad-
casters (22 months).

Production and Funding
French film production peaked off from

its previous year’s record high, with 230 fi lms
receiving official recognition, 10 less than in
2008. Average production costs decreased from
EUR 6.4 million to EUR 5.1 million and the total
value of French initative production fell below the
1 billion benchmark to EUR 928 million, down
26.3% from 2008. France hopes to attract more
foreign productions with a new 20% tax rebate on
local spend, capped at EUR 4 million per project,
which became effective in December 2009.

Sources: CNC, Le fi lm français,

Screen International, Variety

, OBS

24
Germany

Population 2009 e 81.9 million
GDP per capita 2009 e 37 307 USD
Gross box offi ce 2009 (million) 976.1 M EUR (1 357 M USD)
Admissions 2009 146.3 million
Average ticket price 2009 6.67 EUR (9.28 USD)
Average admissions per capita 2009 1.79
Screens 2008 | 2009 4 810 | 4 734
Screens in multiplexes 2008 | 2009 27.1% | ~
Digital screens 2008 | 2009 162 | 592
Digital 3D screens 2008 | 2009 ~ | 369

Admissions and gross box offi ce | 2005-2009

Source: FFA

Number of national feature fi lms released | 2005-2009

Source: SPIO

Market shares 2009

Others
72.6%

National
27.4%

Total
100% national
Gross box offi ce
(EUR million)

Admissions
(millions)

Majority
co-productions
Minority
co-productions

25
Germany

Top 20 fi lms by admissions in Germany | 2009

Original title
Country
of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 8 705 891
2 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 6 128 515
3 Wickie und die starken Männer DE Michael Herbig Constantin Film 4 891 1

4 Angels & Demons US Ron Howard Sony Pict. Releasing 4 584 368
5 Avatar US/GB James Cameron 20th Century Fox 3 379 380
6 Zweiohrküken DE Til Schweiger Warner Bros. 3 340 379
7 New Moon US Chris Weitz Concorde Filmverleih 3 299 499
8 2012 US/CA Roland Emmerich Sony Pict. Releasing 3 224 981
9 Up US Docter, Peterson Walt Disney Studios 2 946 831

10 Twilight US Catherine Hardwicke Concorde Filmverleih 2 777 690
11 Night at the Museum: Battle of… US/CA Shawn Levy 20th Century Fox 2 369 843
12 Die Päpstin DE/GB/IT/ES Sönke Wortmann Constantin Film 2 339 213
13 The Reader US/DE Stephen Daldry Senator Film Verleih 2 187 327
14 The Hangover US/DE Todd Phillips Warner Bros. 2 136 313
15 Inglourious Basterds US/DE Quentin Tarantino Universal Pictures 2 104 523
16 Männerherzen DE Simon Verhoeven Warner Bros. 2 094 192
17 The Curious Case of Benjamin Button US David Fincher Warner Bros. 2 080 378
18 Slumdog Millionaire GB D. Boyle, L. Tandan Prokino Filmverleih 2 068 485
19 The Proposal US Anne Fletcher Walt Disney Studios 2 012 307
20 Transformers: Revenge of the Fallen US Michael Bay Paramount 1 906 3

Source: FFA

Production and Funding
German production activity, measured in

terms of fi lm releases, reached the highest level
in recent years with a total of 220 German feature
fi lms released in 2009, up 35 fi lms from 2008.
International co-productions signifi cantly con-
tributed to this increase with 78 co-productions
being released, 20 more than in 2008 and the
highest number on record. 2009 proved to be
a diffi cult year for public funding however, with
the German Administrative Court ruling in early
2009 that the current cinema levy used to fi nance
the German Federal Film Board (FFA) was uncon-
stitutional and the case being referred to the
Federal Constitutional Court for a fi nal decision
yet to be taken at the time of writing. This cre-
ated a fair amount of uncertainty with regard to
the future of German fi lm funding and will prob-
ably affect local fi lm production activity in 2009
and 2010. In order to bring the action to an
end, the Federal Cabinet agreed on a new fi lm
funding law in early 2010 which foresees statu-
tory contributions to the FFA by public and pri-
vate broadcasters, which, unlike exhibitors and
the video industry, until now had been able to
negotiate their contributions. The government is
aiming to have the revised legislation come into
force before the 2010 summer recess. Meanwhile,
the German Federal Film Fund (DFFF) has been

extended with slight modifi cations for another
three year period until 2012. Between 2007 and
2009 the DFFF has supported 302 projects with
a total of EUR 178.1 million.

Distribution and Exhibition
2009 proved to be an excellent year for the

German theatrical market with 3D blockbusters
and national fi lms driving admissions to grow
by 13% to 146.3 million tickets sold, the best
result in the past fi ve years. Boosted by increasing
average ticket prices, primarily due to premium
prices for 3D screenings, GBO even rose by 22.8%
to EUR 976 million (USD 1.4 billion). National
fi lms reached an all-time record market share
of 27.4%, attracting 39.9 million admissions,
the highest level on record. Germany’s screen
base continued to shrink despite increasing box
offi ce takings however, with screens falling to
4 734, down 76 from 2008, and the number of
towns offering a local cinema falling below the
1 000 benchmark for the fi rst time. This trend
could continue, as the industry failed to agree on
an all-industry solution for a nationwide digital
roll-out, leaving many smaller cinemas, unable
to fi nance the transition on their own, at risk.

Sources: FFA, SPIO, Blickpunkt Film,
Screen International, OBS

26
Italy

Population 2009 e 59.8 million
GDP per capita 2009 e 33 253 USD
Gross box offi ce 2009 (million) 676.1 M EUR (940.1 M USD)
Admissions 2009 111.2 million
Average ticket price 2009 6.08 EUR (8.46 USD)
Average admissions per capita 2009 1.86
Screens 2008 | 2009 3 141 | 3 208
Screens in multiplexes 2008 | 2009 e 1 184 | ~
Digital screens 2008 | 2009 80 | 4

Digital 3D screens 2008 | 2009 ~ | 392

Number of feature fi lms produced in Italy | 2005-2009

Source: CCH

Total
100% national

Admissions and gross box offi ce | 2005-2009 e

Sources: OBS, ANICA, Cinetel, SIAE, CCH

Gross box offi ce
(EUR million)
Admissions
(millions)
Market shares 2009 e

Others
75.6%

National
24.4%

Minority
co-productions
Majority
co-productions

27
Italy

Top 20 fi lms by admissions in Italy | 2009

Original title
Country
of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 4 054 481
2 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 2 994 664
3 Angels & Demons US Ron Howard Sony Pictures 2 988 759
4 New Moon US Chris Weitz Eagle Pictures 2 554 730
5 Natale a Beverly Hills IT/US Neri Parenti Filmauro 2 552 835
6 2012 US/CA Roland Emmerich Sony Pictures 2 246 384
7 Cado dalle nubi IT Gennaro Nunziante Medusa Film 2 078 499
8 Italians IT Giovanni Veronesi Filmauro 1 988 535
9 Up US P. Docter, B. Peterson Walt Disney 1 957 829

10 Seven Pounds US Gabriele Muccino Sony Pictures 1 824 887
11 Baarìa IT/FR Giuseppe Tornatore Medusa Film 1 802 652
12 The Curious Case of Benjamin Button US David Fincher Warner Bros. 1 789 250
13 Ex IT/FR Fausto Brizzi 01 Distribution 1 766 991
14 Gran Torino US/AU Clint Eastwood Warner Bros. 1 524 314
15 Inglourious Basterds US/DE Quentin Tarantino Universal 1 507 738
16 Io e Marilyn IT Leonardo Pieraccioni Medusa Film 1 358 691
17 Transformers: Revenge of the Fallen US Michael Bay Universal 1 333 991
18 Fast & Furious 4 US Justin Lin Universal 1 313 891
19 La matassa IT G. Avellino, Ficarra Medusa Film 1 297 815
20 Yes Man US/AU Peyton Reed Warner Bros. 1 286 564

Source: Cinetel

Distribution and Exhibition
While Italian admissions remained fairly stable

with an estimated 11.2 million tickets sold,
premium priced 3D tickets helped local box offi ce
to grow 4.9% to an estimated EUR 676 million
(USD 940 million). Box office was driven by
US blockbusters, particularly 3D titles, while local
fi lms struggled, seeing their market share drop
to an estimated 24%, down from 28% in 2008.
As in most European countries, the 3D boom
was made possible by a signifi cant increase in
3D screens, jumping from 40 in January 2009
to 416 in January 2010: 3D becoming the major
growth driver for digital roll-out. In order to pro-
mote further digitisation of its screen base, Italy
plans to introduce a tax incentive scheme for
digital projection offering exhibitors a 30% tax
credit for their conversion costs. Bigger cinemas
would have to fulfi l programming requirements,
showing cultural fi lms for 50% of the screenings,
and to convert at least 50% of their screens in
order to benefi t from the scheme which is cur-
rently under formal investigation by the European
Commission. In order to fi ght piracy estimated
to have caused damage amounting to EUR 530 mil-
lion in 2009, the Italian Audiovisual Anti-Piracy
Federation (FAPAV) launched a landmark case
against Telecom Italia earlier this year, suing the
latter for damages resulting from failing to stop
its clients from illegal downloading.

Production and Funding
The resurgence in Italian production activity

came to an abrupt halt in 2009, with the total
number of fi lm productions dropping from 155 in
2008 to 133. The cutback in production activity
was entirely caused by a sharp decrease in the
production of 100% national fi lms, falling from
128 to 101. Co-productions slightly increased
from 27 to 32, driven by a doubling of minority
co-productions (18), while Italian majority co-
productions declined to 14. Producers blamed
the lack of available government funding as one
of the major reasons for this downturn. According
to fi gures from fi lm industry association ANICA
public funds almost halved in 2009, plunging from
EUR 55 million in 2008 to EUR 29 million, repre-
senting a mere 10% of total production invest-
ment, compared to what used to be about 50%
just fi ve years ago. The new EUR 104 million tax
shelter and tax credit scheme announced in 2008
became effective in May 2009 and will run until
December 2010. The scheme was recently comple-
mented by another EUR 82 million tax incentive
scheme for fi lm investment and distribution.

Sources: ANICA, DG Cinema,
Variety, Screen International, OBS

28
Spain

Population 2009 e 46.1 million
GDP per capita 2009 e 30 251 USD
Gross box offi ce 2009 (million) 667.8 M EUR (928.5 M USD)
Admissions 2009 109.5 million
Average ticket price 2009 6.10 EUR (8.48 USD)
Average admissions per capita 2009 2.38
Screens 2008 | 2009 4 140 | 4 083
Screens in multiplexes 2008 | 2009 e 64.6% | ~
Digital screens 2008 | 2009 e 50 | 238
Digital 3D screens 2008 | 2009 ~ | 195

Market shares 2009 e
Admissions and gross box offi ce | 2005-2009

Source: ICAA

Number of feature fi lms produced | 2005-2009
Source: ICAA
Gross box offi ce
(EUR million)
Admissions
(millions)
Total
100% national
Min. co-prod.
Maj. co-prod.

National
16.0%

US
84.0%

29
Spain

Top 20 fi lms by admissions in Spain | 2009

Original title
Country
of origin Director Distributor Admissions

1 Up US P. Docter, B. Peterson Walt Disney 3 726 039
2 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Hispano Fox Film 3 331 654
3 Agora ES Alejandro Amenábar Hispano Fox Film 3 318 399
4 New Moon US Chris Weitz Aurum Producc. 3 088 254
5 Avatar US/GB James Cameron Hispano Fox Film 3 057 717
6 Angels & Demons US Ron Howard Sony Pictures 2 614 0

7 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 2 393 080
8 2012 US/CA Roland Emmerich Sony Pictures 2 311 585
9 Gran Torino US/AU Clint Eastwood Warner Bros. 2 094 875

10 The Curious Case of Benjamin Button US David Fincher Warner Bros. 2 027 1

11 Inglourious Basterds US/DE Quentin Tarantino UPI 1 784 366
12 Slumdog Millionaire GB D. Boyle, L. Tandan SOGEDA 1 738 874
13 Seven Pounds US Gabriele Muccino Sony Pictures 1 661 961
14 Planet 51 ES/GB/US J. Blanco, J. Abad DeA Planeta 1 643 634
15 Män som hatar kvinnor SE/DK/DE Niels Arden Oplev Vertigo Films 1 555 356
16 Monsters vs. Aliens US Letterman, Vernon Paramount 1 467 126
17 Celda 211 ES/FR Daniel Monzón Paramount 1 400 422
18 X-Men Origins: Wolverine US Gavin Hood Hispano Fox Film 1 386 563
19 Australia AU/US Baz Luhrmann Hispano Fox Film 1 251 395
20 G-Force US Hoyt Yeatman Walt Disney 1 251 096

Source: ICAA

Distribution and Exhibition
2009 fi nally put a halt to Spain’s downward

trend in admissions, as attendance increased
slightly by 1.5% to 109.5 million tickets sold.
This was still the second lowest level since 1997.
Boosted by an increasing average ticket price,
GBO, however, saw a strong increase to
EUR 668 million (USD 929 million), up 7.8%
year-on-year and the second best result in history.
Box offi ce growth was driven by 3D blockbusters
as well as local fi lms. Led by Agora Spanish fi lms
generated 22% more admissions than in 2008,
taking 15% of the total market. Admissions to
US and European fi lms remained fl at while fi lms
from other parts of the world showed a down-
ward trend. This tendency could possibly change
with new funding rules making European and
Latin American fi lms eligible for distribution sub-
sidies, formerly only available to fi lms qualifying
as Spanish. 3D also drove digital cinema with
digital screens climbing from 50 digital screens in
2008 to 238 by year end, while the overall screen
base continued to decrease to 4 083 screens.
195 3D screens were operational by end 2009.
A new anti-piracy bill has been submitted to the
national parliament allowing the federal court
to close or block websites streaming or offering
unauthorized downloads of film and music
content. Complaints would be channelled through
an intellectual property commission to be set up
at the Ministry of Culture.

Production and Funding
Production levels reached a new record high

with a total of 186 Spanish feature films pro-
duced in 2009, up 13 from 2008. While co-pro-
ductions remained fairly stable, the production
of 100% national fi lms continued its ongoing
growth trend, up by 11 productions to a total
of 135 feature films. The Spanish production
landscape is currently facing changes in its fi lm
fi nancing and funding structures. On the one
hand, ICAA, the national fi lm agency, is increasing
state support for individual fi lms and distribution,
aiming to stimulate the development of higher-
quality projects by binding a signifi cant amount
of funds to a fi lm’s commercial success. On the
other hand, mandatory production quotas for
private TV broadcasters, which used to be a sig-
nifi cant source of fi nancing, have recently been
cut from 5% to 3% of their annual revenues and
have to be spread among several projects. With
falling TV revenues along with decreasing prices
for TV rights, this development could make it
more diffi cult for large scale projects to complete
their fi nancing.

Sources: ICAA, Screen International, Variety, OBS

30
United Kingdom

Population 2009 e 61.2 million
GDP per capita 2009 e 32 798 USD
Gross box offi ce 2009 (million) 944 M GBP (1 472 M USD)
Admissions 2009 173.5 million
Average ticket price 2009 5.44 GBP (8.49 USD)
Average admissions per capita 2009 2.83
Screens 2008 | 2009 3 661 | 3 696
Screens in multiplexes 2008 | 2009 64.6% | ~
Digital screens 2008 | 2009 303 | 668
Digital 3D screens 2008 | 2009 ~ | 473

Market shares 2009
Admissions and gross box offi ce | 2005-2009

Sources: Digital Cinema Media, CAA, Nielsen EDI

Number of fi lms produced in the United Kingdom | 2005-2009

Sources: UK Film Council, OBS

Others
83.5%

Total

100 % national

Inward feature (1)

Minority
co-productions
Majority
co-productions

Admissions
(millions)

Gross box offi ce
(GBP million)

National
16.5%

(1) Including Inward Feature Co-productions but excluding inward features involving only VFX work in the UK.

31
United Kingdom

Top 20 fi lms by gross box offi ce in the United Kingdom
& Ireland | 2009

Original title
Country
of origin Director

Gross box offi ce
Distributor (in GBP)

1 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner 50 723 508
2 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 35 022 205
3 Up US PDocter, Peterson Walt Disney 34 395 456
4 Avatar US/GB James Cameron 20th Century Fox 32 815 618
5 Slumdog Millionaire GB D. Boyle, L. Tandan Pathe Distribution 31 664 346
6 Transformers: Revenge of the Fallen US Michael Bay Paramount 26 940 924
7 New Moon US Chris Weitz E1 Entertainment 26 888 092
8 The Hangover US/DE Todd Phillips Warner 22 121 062
9 Monsters vs. Aliens US Letterman, Vernon Paramount 21 297 434

10 Star Trek US J.J. Abrams Paramount 21 223 959
11 A Christmas Carol US Robert Zemeckis Walt Disney 20 107 127
12 Night at the Museum: Battle of the… US/CA Shawn Levy 20th Century Fox 20 031 705
13 2012 US/CA Roland Emmerich Sony Pictures Int. 19 460 639
14 Angels & Demons US Ron Howard Sony Pictures Int. 18 582 023
15 Bolt US Howard, Williams Walt Disney 17 937 595
16 X-Men Origins: Wolverine US Gavin Hood 20th Century Fox 16 275 324
17 Brüno US Larry Charles Universal Pictures 15 662 792
18 Marley & Me US David Frankel 20th Century Fox 15 251 996
19 Terminator Salvation US McG Sony Pictures Int. 14 205 059
20 Fast & Furious 4 US Justin Lin Universal Pictures 13 578 749

Sources: UK Film Council, Nielsen EDI

Production and Funding
Feature fi lm production output remained stable

in 2009 while UK production spend reached a
record of GBP 957 million (USD 1.5 billion), due
to a surge in inward investment (GBP 753 mil-
lion) from US studios, encouraged by a favour-
able exchange rate, the UK fi lm tax relief and the
end of the writers’ strike in the US: The indepen-
dent UK production sector, however, remained
under pressure with median budgets of domestic
fi lms falling to GBP 1.5 million and production
levels continuing their downward trend. Including
co-productions the number of UK independent
fi lms with budgets of over GBP 500 000 fell from
163 in 2003 to 94 in 2009, refl ecting a tougher
economic environment for independent produc-
tions and changes in the tax relief system now
exclusively focusing on UK spend. Reacting to
signifi cant cuts in its budget, the UKFC undertook
a major re-organisation of its operations aiming
to cut its overheads by 20%, e.g. by merging its
former Premiere, New Cinema and Development
funds into one single GBP 15 million (USD 23 mil-
lion) production fund: the Film Fund, which
became operational in April 2010 and will focus on
creative excellence and put more emphasis on
fi rst- and second-time fi lmmakers. In parallel,
merger discussions between the UKFC and the
British Film Institute continue.

Distribution and Exhibition
US blockbusters helped UK cinema admissions

to grow by 5.6% to 173.5 million, the second
highest level since 1971. GBO even increased by
11% to reach GBP 944 million (USD 1.5 billion),
the highest level on record. Led by three 3D hits,
Avatar, Ice Age 3 and Up, US fi lms accounted for
about 81% of the box office, significantly up
from 65% in 2008. Market share for UK fi lms,
including inward investment fi lms fi nanced by
US studios, dropped dramatically from 31% in
2008 to 16.5%, illustrating dependency on a
small number of high-grossing titles. UK inde-
pendent fi lms took 8.5% of total box offi ce, cele-
brating their best result of the last decade. 3D also
boosted growth in digital screens as the number
increased by 365 to a total of 668 digital screens.
In order to help smaller cinema negotiate fi nan-
cial support in the form of VPFs to digitise their
screens, the CEA formed the UK Digital Funding
Group which became a separate legal entity in
January 2010 and represents some 500 indepen-
dent screens at present.

Sources: UK Film Council (UKFC), Digital Cinema
Media, Screen International, Cinema Exhibitors

Association (CEA)

Russian Federation

Population 2009 e 141.4 million
GDP per capita 2009 e 8 230 USD
Gross box offi ce 2009 (million) 23 406 M RUB (735.7 M USD)
Admissions 2009 138.5 million
Average ticket price 2009 169 RUB (5.31 USD)
Average admissions per capita 2009 0.98
Screens 2008 | 2009 1 886 | 2 102
Screens in multiplexes 2008 | 2009 ~ | ~
Digital screens 2008 | 2009 90 | 352
Digital 3D screens 2008 | 2009 89 | 346

Admissions and gross box offi ce | 2005-2009

Source: Russian Film Business Today

Number of Russian fi lms on fi rst release | 2005-2009

Source: Russian Film Business Today
Market shares 2009

Others
76.1%

National
23.9%

National fi lms

Gross box offi ce
(USD million)

Admissions
(millions)

Russian Federation

Top 20 fi lms by admissions in the Russian Federation & CIS (1) | 2009 e

Estimated admissions based on average ticket price of 5.31 USD.

Original title
Country
of origin Director Distributor Admissions e

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 8 418 736
2 2012 (2) US/CA Roland Emmerich BVSPR 6 898 604
3 Obitaemyy ostrov (The Inhabited…) RU Fyodor Bondarchuk Caroprokat 4 120 396
4 Harry Potter and the Half-Blood Prince GB inc/US David Yates Caro Premier 3 538 415
5 New Moon (2) US Chris Weitz West 3 509 434
6 Transformers: Revenge of the Fallen US Michael Bay Central Partnership 3 428 472
7 Lubov morkov 2 (Lovey-Dovey 2) RU Maksim Pezhemsky Caroprokat 3 368 057
8 Kanikuly strogogo rezhima RU Igor Zaytsev 20th Century Fox 3 314 340
9 Taras Bulba RU Vladimir Bortko Central Partnership 3 215 245

10 Stilyagi (Hipsters) RU Valeriy Todorovskiy Central Partnership 3 171 774
11 Terminator Salvation US McG BVSPR 2 737 283
12 Fast & Furious 4 US Justin Lin UPI 2 699 302
13 The Final Destination US David R. Ellis Caro Premier 2 671 208
14 Angels & Demons US Ron Howard BVSPR 2 565 698
15 Monsters vs. Aliens US Letterman, Vernon Central Partnership 2 551 660
16 A Christmas Carol (2) US Robert Zemeckis BVSPR 2 473 170
17 Samyy luchshiy fi lm 2 RU Oleg Fomin BVSPR 2 423 755
18 Up US P. Docter, B. Peterson BVSPR 2 263 755
19 Night at the Museum: Battle of… US/CA Shawn Levy 20th Century Fox 2 079 811
20 Kniga masterov (The Book of Masters) RU Vadim Sokolovsky BVSPR 2 041 509

(1) Excluding Ukraine. (2) Still on release after November 2009. Sources: Russian Film Business Today, OBS

Production and Funding
The Russian fi lm production industry is currently

facing a period of uncertainty with the yet to be
announced new public support scheme poten-
tially bringing with it signifi cant changes in the
local fi lm production landscape. State funding
had been a primary source of fi nancing for both
blockbusters as well as art-house fi lms, spurring
on local production activity until 2008 when the
Federal Agency for Cinematography and Culture
was closed down and its functions taken over by
the Ministry of Culture. No public funding was
granted to any new fi lm projects in 2009 due
to a temporary freeze on fi lm grants, with only
previously agreed grants to be paid from the
state’s annual USD 140 million fi lm fund. The
number of Russian fi lms consequently stagnated
at 78 releases in 2009 and is likely to go down in
2010. Up until now, no details of the new state
support systems have been announced. Many
art-house fi lmmakers fear that the future system
will focus on funding a very limited number of
large-scale productions leaving art-house produc-
tions struggling. This development will likely see
an increased amount of consolidation, further
pressure on production costs as well as more
Russian producers turning to international co-
productions, which have been comparatively
rare in the past due to suffi cient local funding,
in order to fi nance their projects.

Distribution and Exhibition
Despite the fi nancial crisis the Russian Federation

continued its impressive growth trend with modern
screens increasing by 11.5% driving admissions
to grow by 11.8% to reach 138.5 million tickets
sold. However, with the Russian ruble losing
around 20% of its value against the US dollar in
2009, GBO reported in US dollars dropped from
USD 830 million in 2008 to USD 736 million
last year. As in past years, box offi ce was domi-
nated by US and local productions, the latter
taking a market share of 23.9%. A clear trend
towards ‘blockbusterization’ could be observed
with admissions to the top 50 fi lms increasing by
6.4% year-on-year, while admissions to the fi lms
ranking between 51 and 100 decreased by almost
30%. A new regulation introducing a manda-
tory uniform ticket sales reporting system for all
fi lm theatres is supposed to come into force on
May 1, 2010. It responds to claims by local pro-
ducers that theatres were systematically retaining
a portion (5-6%) of their revenues. Driven almost
exclusively by 3D screens, digital cinema jumped
from 90 digital screens to 352 by year-end.

Sources: Nevafi lm, RFilms, Russian Film Business
Today, Screen International, OBS, Planeta-Inform

Other Western Europe

Admissions in selected Western European countries | 2005-2009
In millions.

Sources: SGA, FAFO, INS, FCB, CSA, NVF-NVB, ICA, OFS, STATEC, OBS

Number of feature fi lms produced in selected
Western European countries | 2005-2009

Sources: OFI, MFB, VAF, SGA, NFF, ICA, IFB, OFS, OBS

Portugal

Netherlands e

Austria
Ireland
Portugal
Switzerland

Switzerland
Belgium e

Ireland
Austria

(1) 2008

Austria Belgium Ireland Netherlands Portugal Switzerland
Population 2009 e (millions) 8.4 10.8 4.5 16.6 10.6 7.8
GDP per capita 2009 e 43 570 40 019 49 096 44 259 19 624 61 741
Gross box offi ce 2009 (million USD) 181.6 187.3 (1) 173.3 279.5 102.7 211.4
Admissions 2009 18.4 22.6 17.7 27.3 15.7 15.3
Average ticket price 2009 (USD) 9.86 8.54 (1) 9.81 10.24 6.54 13.86
Average admissions per capita 2009 2.20 2.08 3.97 1.65 1.48 1.97
Screens 2009 577 491 (1) 442 649 (1) 577 559
Digital screens 2008 | 2009 84 | 239 98 | 144 38 | 112 56 | 105 44 | 181 17 | 63
Digital 3D screens 2009 101 45 68 94 89 54
National market shares 2009 e 8.0% 7.9% 0.2% 17.4% 2.7% 3.4%

Netherlands
Belgium e

35
Other Western Europe

Top 10 fi lms by admissions in Austria | 2009

Top 10 fi lms by admissions in the Netherlands | 2009

Top 10 fi lms by admissions in Switzerland | 2009

Top 10 fi lms by admissions in Portugal | 2009

Sources: Austrian Film Institute, Nielsen EDI

Sources: MaccsBox, NVB & NVF

Source: Offi ce fédéral de la statistique

Source: ICA

Original title
Country
of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 1 272 6

2 Wickie und die starken Männer DE Michael Herbig Constantin Film 796 094
3 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 556 145
4 Angels & Demons US Ron Howard Sony Pictures 507 545
5 The Hangover US/DE Todd Phillips Warner Bros. 441 699
6 Inglourious Basterds US/DE Quentin Tarantino Universal Pictures 385 720
7 Avatar US/GB James Cameron 20th Century Fox 375 125
8 2012 US/CA Roland Emmerich Sony Pictures 359 841
9 New Moon US Chris Weitz Constantin Film 344 501

10 The Proposal US Anne Fletcher Walt Disney 333 165

Original title
Country
of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 1 029 015
2 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 469 966
3 Slumdog Millionaire GB D. Boyle, L. Tandan Pathé Films 429 892
4 Angels & Demons US Ron Howard Walt Disney Studio 407 476
5 2012 US/CA Roland Emmerich Walt Disney Studio 398 580
6 Up US P. Docter, B. Peterson Walt Disney Studio 344 909
7 Avatar US/GB James Cameron 20th Century Fox 337 800
8 The Hangover US/DE Todd Phillips Warner Bros. 335 679
9 New Moon US Chris Weitz Elite-Film 319 619

10 Australia US/AU Baz Luhrmann 20th Century Fox 293 293

Original title
Country
of origin Director Distributor Admissions

1 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 1 357 884
2 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 1 134 483
3 Komt een vrouw bij de dokter NL Reinout Oerlemans Benelux Film Distrib. 922 129
4 Up US P. Docter, B. Peterson Walt Disney Studio 788 231
5 De storm NL/BE Ben Sombogaart Universal Pictures Int 729 629
6 Angels & Demons US Ron Howard Sony Pict. Releasing 704 258
7 Inglourious Basterds US/DE Quentin Tarantino Universal Pictures Int 629 010
8 2012 US/CA Roland Emmerich Sony Pict. Releasing 565 1

9 Slumdog Millionaire GB D. Boyle, L. Tandan Cinéart Nederland 536 788

10 This Is It US Kenny Ortega Sony Pict. Releasing 513 041

Original title
Country
of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier CLMC Multimedia 667 684
2 2012 US/CA Roland Emmerich Col. TriStar Warner 530 741
3 New Moon US Chris Weitz Lusom. Audiovisuais 513 328
4 Angels & Demons US Ron Howard Col. TriStar Warner 504 740
5 Up US P. Docter, B. Peterson Lusom. Audiovisuais 469 668
6 Harry Potter and the Half-Blood Prince GB inc/US David Yates Col. TriStar Warner 434 514
7 Avatar US/GB James Cameron CLMC Multimedia 424 088
8 The Curious Case of Benjamin Button US David Fincher Col. TriStar Warner 397 244
9 Slumdog Millionaire GB D. Boyle, L. Tandan Lusom. Audiovisuais 382 753

10 Inglourious Basterds US/DE Quentin Tarantino Lusom. Audiovisuais 339 658

Nordic countries

Admissions in Nordic countries | 2005-2009
In millions.

Sources: DFI, FFF, HI, Film & Kino, SFI

(1) 2008

Denmark Finland Iceland Norway Sweden
Population 2009 e (millions) 5.5 5.4 0.3 4.9 9.3
GDP per capita 2009 e 52 815 44 217 36 878 70 644 38 960
Gross box offi ce 2009 (million USD) 192.0 80.6 11.3 165.5 202.0
Admissions 2009 13.9 6.7 1.7 12.7 17.4
Average ticket price 2009 (USD) 13.78 12.04 6.71 13.03 11.61
Average admissions per capita 2009 2.5 1.3 5.3 2.6 1.9
Screens 2009 397 (1) 315 33 422 848 (1)

Digital screens 2008 | 2009 10 | 25 12 | 48 7 | 7 48 | 61 8 | 36

Digital 3D screens 2009 23 43 7 28 28
National market shares 2009 e 17.3% 15.0% 10.3% 20.6% 32.7%

Number of feature fi lms produced in the Nordic countries | 2005-2009

Sources: DFI, FFF, HI, NFI, SFI, OBS

Denmark
Norway
Finland

Sweden
Sweden

Iceland

Iceland
Finland

Denmark
Norway

Note: Danish fi gures refer to number of feature fi lms receiving public funding in a given year.

37
Nordic countries

Top 10 fi lms by admissions in Denmark | 2009

Top 10 fi lms by admissions in Norway | 2009

Top 10 fi lms by admissions in Finland | 2009

Top 10 fi lms by admissions in Sweden | 2009

Sources: Statistics Denmark, DFI

Source: Film og Kino

Source: Finnish Film Foundation

Source: Swedish Film Institute

Original title
Country
of origin Director Distributor Admissions

1 Män som hatar kvinnor SE/DK/DE Niels Arden Oplev Nordisk Film 959 207
2 Flickan som lekte med elden SE/DK/DE Daniel Alfredson ~ 784 701
3 Harry Potter and the Half-Blood Prince GB inc/US David Yates Sandrew Metronome 596 291
4 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier ~ 515 583
5 Up US P. Docter, B. Peterson ~ 496 825
6 Angels & Demons US Ron Howard ~ 494 143
7 Sorte Kugler DK Anders Matthesen ~ 404 777
8 Luftslottet som sprängdes SE/DK/DE Daniel Alfredson ~ 404 504
9 Avatar US/GB James Cameron ~ 322 038

10 Bolt US B. Howard, C. Williams ~ 258 715

Original title
Country
of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier FS Film 390 778
2 Harry Potter and the Half-Blood Prince GB inc/US David Yates Sandrew Metronome 346 170
3 Rööperi FI Aleksi Mäkelä Nordisk Film Film 256 307
4 Up US P. Docter, B. Peterson Disney 218 506
5 Angels & Demons US Ron Howard Disney 200 797
6 Slumdog Millionaire GB D. Boyle, L. Tandan FS Film 187 156
7 Inglourious Basterds US/DE Quentin Tarantino Finnkino 181 234
8 New Moon US Chris Weitz Nordisk Film Film 179 638
9 Bolt US B. Howard, C. Williams Disney 162 129

10 Twilight US Catherine Hardwicke Nordisk Film Film 155 426

Original title
Country
of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 859 617
2 Max Manus NO/DK/DE Roenning, Sandberg Nordisk Filmdistrib. 758 445
3 Män som hatar kvinnor SE/DK/DE Niels Arden Oplev Nordisk Filmdistrib. 532 167
4 Harry Potter and the Half-Blood Prince GB inc/US David Yates Sandrew Metronome 517 138
5 Flickan som lekte med elden SE/DK/DE Daniel Alfredson Nordisk Filmdistrib. 487 637
6 Knerten NO Åsleik Engmark Scanbox 355 771
7 Julenatt i Blåfjell NO Uthaug, Launing Sandrew Metronome 343 746
8 Angels & Demons US Ron Howard Walt Disney Studios 325 725
9 Up US P. Docter, B. Peterson Walt Disney Studios 325 157

10 New Moon US Chris Weitz Nordisk Filmdistrib. 274 822

Original title
Country
of origin Director Distributor Admissions

1 Män som hatar kvinnor SE/DK/DE Niels Arden Oplev Nordisk Film 1 217 018
2 Flickan som lekte med elden SE/DK/DE Daniel Alfredson Nordisk Film 1 029 295
3 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner 754 497
4 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 668 038
5 Sommaren med Göran – En midsom… SE Staffan Lindberg Nordisk Film 550 085
6 Luftslottet som sprängdes SE/DK/DE Daniel Alfredson Nordisk Film 509 122
7 New Moon US Chris Weitz Nordisk Film 466 158
8 Up US P. Docter, B. Peterson Walt Disney 461 412
9 Avatar US/GB James Cameron 20th Century Fox 453 296

10 Angels & Demons US Ron Howard Sony Pict. Releasing 400 701

Central and South-Eastern Europe

Bulgaria Croatia
Czech

Republic Hungary Romania Slovakia Slovenia
Population 2009 e (millions) 9.3 4.4 10.5 10.0 21.5 5.4 2.1
GDP per capita 2009 e 6 823 13 220 16 684 12 531 7 774 16 241 24 181
Gross box offi ce 2009 (million USD) 17.9 15.9 65.5 55.5 28.4 23.5 16.2
Admissions 2009 3.2 3.3 12.5 10.6 5.3 4.1 2.8
Average ticket price 2009 (USD) 5.65 4.89 5.26 5.24 5.39 5.67 5.80
Average admissions per capita 2009 0.3 0.7 1.2 1.1 0.2 0.8 1.4
Screens 2009 94 (1) 112 (1) 695 415 182 235 (1) 103
Digital screens 2008 | 2009 17 | 23 7 | 8 2 | 50 7 | 31 14 | 41 0 | 10 9 | 9
Digital 3D screens 2009 12 8 47 28 25 10 9
National market shares 2009 e 1.6% 1.6% 25.6% 9.3% 2.3% 12.4% 1.9%

Number of feature fi lms produced in Central and South-Eastern
Europe | 2005-2009

Admissions in Central and South-Eastern Europe | 2005-2009
In millions.

Sources: HAVCR, NFO, Ministry of Culture of the Czech Republic, CNC, SKFI, FSRS, NFC

Sources: OBS, NFO, UFD, CNC, HAVCR , SKFI, FSRS, NFC

(1) 2008
Czech Republic
Hungary
Romania
Czech Republic
Hungary
Slovenia

Slovakia
Croatia
Bulgaria

Slovenia

Romania e

Slovakia
Croatia
Bulgaria

3939

Central and South-Eastern Europe

Top 10 fi lms by admissions in the Czech Republic | 2009

Top 10 fi lms by admissions in Romania | 2009

Top 10 fi lms by admissions in Hungary | 2009

Top 10 fi lms by admissions in the Slovak Republic | 2009

Source: Unie Filmovvych Distributoru

Source: Centrul National al Cinematografi ei

Source: National Film Offi ce

Source: Slovak Film Institute

Original title
Country
of origin Director Distributor Admissions

1 Líbá” jako B h CZ Marie Polednáková Falcon 904 589
2 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Bontonfi lm 852 067
3 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 684 247
4 Avatar US/GB James Cameron Bontonfi lm 375 733
5 2 Bobule CZ Vlad Lanne Bioscop/Magic Box 357 373
6 Angels & Demons US Ron Howard Falcon 308 144
7 This Is It US Kenny Ortega Falcon 291 505
8 Peklo s princeznou CZ Milos Smídmajer Bioscop/Magic Box 269 593
9 2012 US/CA Roland Emmerich Falcon 260 202

10 Inglourious Basterds US/DE Quentin Tarantino Bontonfi lm 247 017

Original title
Country
of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Intercom 652 823
2 Harry Potter and the Half-Blood Prince GB inc/US David Yates Intercom 491 597
3 Avatar US/GB James Cameron Intercom 369 962
4 The Hangover US/DE Todd Phillips Intercom 318 719
5 Angels & Demons US Ron Howard Intercom 286 973
6 New Moon US Chris Weitz Fórum-Hungary 277 543
7 The Proposal US Anne Fletcher Fórum-Hungary 270 628
8 Up US P. Docter, B. Peterson Fórum-Hungary 205 642
9 2012 US/CA Roland Emmerich Intercom 222 774

10 Inglourious Basterds US/DE Quentin Tarantino UIP Dunafi lm 244 288

Original title
Country
of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Odeon Cineplex 334 217
2 2012 US/CA Roland Emmerich Intercomfi lm 288 991
3 Avatar US/GB James Cameron Odeon Cineplex 255 590
4 New Moon US Chris Weitz Mediapro 134 340
5 A Christmas Carol US Robert Zemeckis Prooptiki 120 397
6 The Final Destination US David R. Ellis Intercomfi lm 115 830
7 The Hangover US/DE Todd Phillips Intercomfi lm 107 573
8 The Proposal US Anne Fletcher Prooptiki 101 796
9 Angels & Demons US Ron Howard Intercomfi lm 97 515

10 Inglourious Basterds US/DE Quentin Tarantino Ro-Image 2000 96 017

Original title
Country
of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Tatra Film 399 454
2 Harry Potter and the Half-Blood Prince GB inc/US David Yates Continental Film 205 564
3 Janosik. Prawdziwa historia PL/SK/CZ A. Holland, K. Adamik 151 845
4 Angels & Demons US Ron Howard Itafi lm 131 942
5 Pokoj v dusi SK Vladimír Balko Anna Kovacova 116 800
6 Avatar US/GB James Cameron Tatra Film 109 584
7 Fly Me to the Moon BE/US Ben Stassen Intersonic SK 107 679
8 Nestyda CZ Jan Hrebejk 93 470
9 New Moon US Chris Weitz SPI SK 88 534

10 Twilight US Catherine Hardwicke SPI SK 87 331

Poland

Distribution and Exhibition
Poland saw impressive 16.1% growth in cinema

attendance in 2009, setting a record high of 39.2 mil-
lion tickets, compared to 33.8 million in 2008. Gross
box offi ce takings increased by 24.5% year-on year
to reach PLN 681.3 million (USD 218 million), spurred
by an increasing average ticket price. Polish fi lms could
not quite reach 2008’s exceptionally high market share
of 24.1%, but managed to attract 21.5% of total
admissions, confi rming the strong come-back of
Polish fi lms over the past years, coming from a market
share of just 3.4% in 2005. Three US blockbusters,
the latest instalments of Madagascar and Ice Age
as well as 2012 topped the Polish charts in 2009,
followed by local productions Love and Dance and
Popieluszko: Freedom Is Within Us, a biopic about
Jerzy Popie!uszko, a Catholic priest associated with
Solidarnosc and murdered by the internal intelli-
gence agency in 1984. US fi lms accounted for an
estimated 65% of total market volume. The dis-
tribution market was once more dominated by
US major UIP taking the lead (26.8%) followed
by Forum Film (12.8%) and Imperial Cinepix
(11.9% each). The Polish exhibition sector is highly
concentrated with the three leading chains, Cinema
City (37.4%), Multikino-SilverScreen (24.5%) and

Helios-Kinoplex (19.7%) accounting for a cumula-
tive 81.5% of the market. Despite the fact that a
national programme for the digitisation of cinemas
is still under discussion, digital screens increased
from 53 screens in 2008 to 176 in 2009. The
national support scheme aims at supporting up to
350 cinemas in installing digital projectors obliging
participating cinemas to reserve 15% of their screen-
ings for Polish fi lms and 20% for European fi lms.

Production
According to fi gures from the Polish Film Institute

(PISF), there were 42 feature fi lms produced in 2009,
3 less than in 2008. While signifi cantly decreasing
between 2000 and 2004, local production levels
started to grow again with public funding schemes
developed by the Polish Film Institute becoming
operational in May 2006 as well as the creation
of several regional fi lm funds. In 2009 the PISF
spent over PLN 132.6 million (USD 42.5 million)
on supporting fi lm production, 15% more than
in 2008 and almost double the amount allocated
in earlier years.

Sources: Polish Film Iinstitute (PISF),
boxoffi ce.pl, Film New Europe, OBS

Population 2009 e 38.1 million
GDP per capita 2009 e 10 583 USD
Gross box offi ce 2009 (million) 681.3 M PLN (218.1 M USD)
Admissions 2009 39.2 million
Average ticket price 2009 17.39 PLN (5.57 USD)
Average admissions per capita 2009 1.03
Screens 2008 | 2009 1 043 | ~
Screens in Multiplexes 2008 | 2009 e 44.5% | ~
Digital screens 2008 | 2009 53 | 176
Digital 3D screens 2008 | 2009 ~ | 141

Others
78.5%

National
21.5%

Market shares 2009

Top 10 fi lms by admissions in Poland | 2009

Original title
Country
of origin Director Distributor Admissions

1 Madagascar: Escape 2 Africa US Darnell, McGrath UIP 2 105 476
2 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Imperial Cinepix 1 990 248
3 2012 US/CA Roland Emmerich UIP 1 526 437
4 Kochaj i tancz PL Bruce Parramore ITI Cinema 1 336 102
5 Popieluszko. Wolnosc jest w nas PL Rafal Wieczynski Kino Swiat 1 312 230
6 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner 1 157 551
7 Angels & Demons US Ron Howard UIP 1 059 911
8 U2 3D US Pellington, Owens Forum Film 903 477
9 Monsters vs. Aliens US Letterman, Vernon UIP 792 397

10 New Moon US Chris Weitz Monolith 744 338
Source: boxoffi ce.pl

Turkey

Population 2009 e 70.4 million
GDP per capita 2009 e 7 840 USD
Gross box offi ce 2009 (million) 308.2 M TRY (198.0 M USD)
Admissions 2009 36.9 million
Average ticket price 2009 8.35 TRY (5.37 USD)
Average admissions per capita 2009 0.52
Screens 2008 | 2009 1 575 | ~
Screens in Multiplexes 2008 | 2009 e 24.8% | ~
Digital screens 2008 | 2009 20 | 62
Digital 3D screens 2008 | 2009 ~ | 59

Market shares 2009

Others
49.1%

National
50.9%

Top 10 fi lms by admissions in Turkey | 2009

Original title
Country
of origin Director Distributor Admissions

1 Recep Ivedik 2 TR Togan Gökbakar Ozen Film 4 333 116
2 Günesi gördüm TR Mahsun Kirmizigül Pinema 2 491 454
3 Nefes: Vatan sagolsun TR Levent Semerci Medyavizyon 2 419 136
4 2012 US/CA Roland Emmerich Warner Bros. 1 468 855
5 Ice Age: Dawn of the Dinosaurs US C. Saldanha, M. Thurmeier Tiglon 1 408 523
6 New Moon US Chris Weitz Tiglon 1 195 932
7 Neseli hayat TR Yilmaz Erdogan Cinefi lm 1 071 580
8 Kurtlar vadisi: Gladio TR Sadullah Sentürk Ozen Film 862 947
9 Issiz adam TR Cagan Irmak Cinefi lm 771 747

10 Avatar US/GB James Cameron Tiglon 721 582
Source: Sinema Gazetesi

Distribution and Exhibition
Turkish theatrical admissions decreased by

4.1% to 36.9 million tickets sold in 2009. With
the average ticket price increasing by 7% overall
gross box offi ce takings, however, grew to TRY
308 million (USD 198 million), up 2% from 2008.
First releases accounted for 94.3% of total admis-
sions. The number of first released decreased
slightly from 265 in 2008 to 255, out of which
69 fi lms were of Turkish origin (27%). Led by
Recep Ivedik 2, which became the country’s most
watched fi lm in recent years, selling more than
4.33 million tickets, national fi lms took a market
share of 51%. This represents a signifi cant drop
from 2008’s record high of 58.3% as admissions
to local fi lms decreased by 19% year-on-year.
US fi lms accounted for 33% of all releases, taking
an estimated market share of 42%, compared
to only 33% in 2008. The distribution branch
in 2009 was led by Warner Bros. achieving a
market share of 19.3% of total GBO, followed
by Tiglon Film (18.9%), Özen Film (18.1%) and
UIP Türkiye. (15.1%). On a cumulative basis the
fi ve leading distributors took 83.5% of the total
market. Turkey’s screen base continued to grow
with 1 575 screens by year-end 2008, 111 up from
the previous year. Multiplex screens accounted
for about 25% of the total screen base in 2008.

Digital roll-out remained moderate with the number
of digital screens increasing from 20 at the end
of 2008 to 62 by end 2009. Turkey is currently
considering an amendment of its anti-piracy
regulations based on the French model of Internet
Service Providers having to monitor illegal fi lm
and music downloads and perpetrators having
their internet connections disconnected for two
to twelve months.

Production and Funding

Driven by increasing demand for local fi lms
and public support Turkish fi lm production has
been growing signifi cantly over the past years.
While there were only 18 national fi lms released
six years ago, this increased to 43 in 2007, 51 in
2008 and 69 in 2009. The success of local fi lms
at the box offi ce has helped to attract funding
from broadcasters and even private money, but
profi tability remains a key issue for many produc-
tions with experts estimating that about 30 out
of the 69 Turkish fi lms made in Turkey are strug-
gling to make a profi t. The Turkish fi lm industry
is eagerly awaiting the country’s fi rst 3D produc-
tion, expected to become Turkey’s most expensive
fi lm to date, to be released by year-end.

Sources: Sinema Gazetesi, Variety, Hürriyet, OBS

42
North America
Market shares 2009 e

Admissions and gross box offi ce in the US & Canada | 2005-2009

Sources: MPAA, Rentrak

Number of feature fi lms produced in the United States
and Canada | 2005-2009

Sources: MPAA, CFTPA

Admissions
(billions)

Gross box offi ce
(USD billion)

CA fi lms
produced (3)

US fi lms
91.8%

Others
7.4%

CA fi lms
0.8%

US fi lms
produced (1)

US fi lms released

(1) Historical data has been updated due to change of sources. Does not include feature documentaries.

(2) Based on fi scal year April to March.

North America US Canada
Population 2009 e (millions) 341.0 307.4 33.6
GDP per capita 2009 e (USD) 44 667 45 550 36 589
Gross box offi ce 2009 (million USD) 10.6 9 629 (1) 863 (1)

Admissions 2009 e (millions) 1 420 1 364 (1) 108 (1)

Average ticket price 2009 (USD) e 7.50 7.18 (1) 8.01 (1)

Average admissions per capita 2009 e 4.3 4.47 (1) 3.2 (1)

Screens 2009 e 41 861 39 028 2 833 (1)

Digital screens 2009 7 736 7 418 318
National market shares 2009 e 92.7% 91.8% 0.8%
(1) 2008

43
North America
Distribution and Exhibition
2009 proved to be an excellent year for the

North American theatrical market with gross box
offi ce growing for the fourth consecutive year in
a row. Driven by 3D blockbusters and successful
sequels GBO takings in the US and Canada increased
by an impressive 10.1% year-on-year to reach
USD 10.6 billion, the highest level on record. After
falling for two years in a row, cinema attendance
grew to 1.42 million tickets sold, up 5.5% from
2008 and representing the highest level in fi ve
years. With 4.3 cinema tickets bought by each
citizen on average per year, the North American
market boasts the highest cinema going rate
per person among the world’s major theatrical
markets. Swelled by premium 3D prices, average
ticket prices increased from USD 7.18 in 2008
to USD 7.50. Besides 3D titles, high-profi le fran-
chise fi lms dominated the 2009 box offi ce. Led
by Transformers 2, the latest Harry Potter instal-
ment as well as New Moon, sequels or spin-offs
accounted for almost half of the 20 most successful
fi lms in the North American box offi ce in 2009.
The number of fi lm releases dropped signifi cantly
from 633 fi lms in 2008 to 558 fi lms released in
2009. While the number of major studio releases
actually increased from 108 to 111, the drop in
overall releases stems exclusively from a dramatic
decline in the independent distribution sector. US
fi lms took an estimated market share of 91.8%
of the North American market, Canadian fi lms
accounting for 0.8%. European fi lms, including
fi lms produced in Europe with incoming invest-
ment from the US, accounted for 6.8%, 1.3% per-
centage points up from 2008. A total of 32 fi lms
crossed the USD 100 million benchmark, com-
pared to 25 fi lms in 2008 and 28 in 2007. Warner
Bros. became the market leading studio in 2009,
taking an estimated 20% of the total box offi ce,
followed by Paramount (13.9%), Sony/Columbia
(13.7%) and 20th Century Fox (13.2%).

3D and Digital Cinema
2009 marked the fi rst year in which 3D cinema

had a signifi cant impact on the overall market.
3D screenings generated a GBO of USD 1.14 bil-
lion, accounting for 10.7% of total GBO. This com-
pares to GBO takings of USD 240 million and a
share of only 2,5% in the previous year. In 2009
a total of 20 digital 3D fi lms were released, com-
pared to 6 to 8 fi lms between 2005 and 2008. The
huge success of 3D fi lms was made possible by US
and Canadian theatres increasing their 3D screen

base and the release of high-quality productions
such as James Cameron’s Avatar, Up, Monsters vs.
Aliens and Ice Age 3, all of which made it into the
top 10 fi lms of the year. The number of digital 3D
screens in the region more than doubled, growing
by 134% to 3 548 screens, and represents 46%
of the total digital screen base, which grew by
36.7% to 7 736 screens in 2009. Accounting for
7 418 of these digital screens, US exhibitors had
converted about 19% of their total indoor screen
base to digital by the end of 2009. In Canada
the conversion rate is estimated at around 11%.

US Production
According to revised MPAA fi gures, US pro-

duction volume continued its downward trend in
2009. After plummeting from well above 900 fea-
ture fi ction fi lms between 2005 and 2007 to 716 in
2008, production activity dropped by another
39 fi lms to 677 feature fi ction fi lms produced in
2009. It remains to be seen whether this decrease
in production activity remains a temporary phe-
nomenon caused by labour issues, such as the
strike of the Writer’s Guilds of America in 2007
and 2008, and the challenging overall economic
environment, or whether US production levels will
remain at such comparatively low levels for some
time to come, indicating a trend towards ‘block-
busterization’ with major studios focusing on pro-
ducing and distributing big budget blockbusters
while the independent sector is struggling to fi nd
screen space in an increasingly digital world.

Canada
According to data from Telefilm Canada,

Canadian GBO increased by 9.5% to CAD 1 bil-
lion (USD 886 million) with local market share for
Canadian fi lms increasing from 2.9% to 3.3%.
The Canadian Film and Television Production
Association (CFTPA) have moved the publication
date of their 2008/09 report on fi lm production
to December 2010, so that there are currently no
recent fi gures available on Canadian production
activity, except for theatrical production investment
which decreased by 21.8% to CAD 235 million in
the period between April 2008 and March 2009,
the lowest level since 2000/01. In 2007/08
Canadian production companies produced
75 feature fi lms. Median production costs had
amounted to CAD 2.1 million.

Sources: MPAA, Screen International, Variety,
BoxOffi ceMojo, CFTPA, Observatoire de la culture

et des communications de Québec, OBS

44
North America

3D development in the United States and Canada | 2005-2009

Screen development in the United States and Canada | 2005-2009

Sources: MPAA, Rentrak, Sceen Digest

Sources: MPAA, Rentrak

Number of
3D screens

Total indoor
screens e

GBO from 3D fi lms
(in USD million)

Digital 3D fi lms
released

Digital screens

3D screens

45
North America

Top 20 fi lms by gross box offi ce in North America | 2009

Top 20 fi lms by admissions in Québec | 2009

Original title
Country
of origin Director

Gross box offi ce
Distributor (in USD)

1 Transformers: Revenge of the Fallen US Michael Bay Paramount Pict. 402 111 870
2 Avatar (1) US/GB James Cameron Fox 352 114 898
3 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 301 959 197
4 Up US P. Docter, B. Peterson Disney 293 004 164
5 New Moon (1) US Chris Weitz Summit 287 954 655
6 The Hangover US/DE Todd Phillips Warner Bros. 277 322 503
7 Star Trek US J.J. Abrams Paramount Pict. 257 730 019
8 The Blind Side (1) US John Lee Hancock Warner Bros. 208 476 067
9 Monsters vs. Aliens US Letterman, Vernon Param.-DreamW. 198 351 526

10 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Fox 196 573 705
11 X-Men Origins: Wolverine US Gavin Hood Fox 179 883 157
12 Night at the Museum: Battle of the Smith… US/CA Shawn Levy Fox 177 243 721
13 The Proposal US Anne Fletcher Disney 163 958 031
14 2012 (1) US/CA Roland Emmerich Sony 163 442 128
15 Alvin and the Chipmunks: The Squeakquel (1) US Betty Thomas Fox 155 913 935
16 Fast & Furious 4 US Justin Lin Universal Pictures 155 064 265
17 G.I. Joe: The Rise of Cobra US/CZ Stephen Sommers Paramount Pict. 150 201 498
18 Paul Blart: Mall Cop US Steve Carr Sony 146 336 178
19 Taken FR Pierre Morel Fox 145 000 989
20 Gran Torino US/AU Clint Eastwood Warner Bros. 141 211 171

Original title
Country
of origin Director Distributor Admissions

1 De père en fl ic CA Émile Gaudreault Alliance Vivafi lm 1 242 275
2 New Moon US Chris Weitz Les Films Séville 840 004
3 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 817 971
4 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 676 491
5 Transformers: Revenge of the Fallen US Michael Bay DreamWorks Pict. 644 099
6 Angels & Demons US Ron Howard Columbia Pictures 603 537
7 2012 (1) US/CA Roland Emmerich Columbia Pictures 507 379
8 Avatar (1) US/GB James Cameron 20th Century Fox 478 693
9 Fast & Furious 4 US Justin Lin Universal Pictures 462 864

10 X-Men Origins: Wolverine US Gavin Hood 20th Century Fox 415 813
11 Slumdog Millionaire GB D. Boyle, L. Tandan Fox Searchl. Pict. 411 232
12 Star Trek US J.J. Abrams Paramount Pict. 408 518
13 Taken FR Pierre Morel 20th Century Fox 367 553
14 Up US P. Docter, B. Peterson Walt Disney 356 595
15 Inglourious Basterds US/DE Quentin Tarantino Alliance Vivafi lm 329 546
16 The Proposal US Anne Fletcher Walt Disney 313 656
17 The Curious Case of Benjamin Button US David Fincher Paramount Pict. 311 321
18 G.I. Joe: The Rise of Cobra US/CZ Stephen Sommers Paramount Pict. 297 528
19 Monsters vs. Aliens US Letterman, Vernon DreamW. Anim. 292 043
20 District 9 US/NZ Neill Blomkamp Sony Pictures 291 959

(1) Still on release in 2010. Source: Variety

(1) Still on release in 2010. Source: Institut de la statistique du Québec

Latin America

Argentina Bolivia e Brazil Chile Colombia Mexico Peru Uruguay Venezuela
Population 2009 e (millions) 40.1 10.2 194.4 17.0 49.0 107.4 29.1 3.2 28.6
GDP per capita 2009 e (USD) 7 732 1 783 6 526 7 994 4 047 7 703 4 225 9 112 10 286
Gross box offi ce 2009 (million USD) 126.1 2.9 (1) 482.9 66.6 91.7 562.5 62.6 10.0 163.6
Admissions 2009 (millions) 33.3 1.7 (1) 112.7 11.9 (1) 27.3 178.0 18.5 (1) 2.4 22.0 (1)

Average admissions per capita 2009 0.83 1.67 (1) 0.58 5.08 (1) 0.56 1.66 3.04 (1) 0.75 5.82 (1)

Average ticket price 2009 (USD) 3.79 0.17 (1) 4.28 0.71 (1) 3.36 3.16 0.65 (1) 4.16 0.78 (1)

Screens 2009 885 49 (2) 2 213 300 593 4 480 170 70 414 (1)

Digital screens 2009 35 ~ 97 16 14 180 11 6 3
National market shares 2009 e 16.0% ~ 14.3% 3.7% 4.8% 7.5% 4.0% 3.0% 0.6%

Number of national feature fi lms released in Latin America | 2005-2009

Admissions in Latin America | 2005-2009
In millions.

Source: Observatorio del Cine y el Audiovisual Latinoamericano

(1) 2008 (2) 2007

Mexico

Brazil

Argentina

Brazil
Mexico

Chile
Colombia
Peru
Uruguay
Venezuela

Argentina
Venezuela
Colombia
Peru
Chile
Uruguay

47
Latin America

Mexico
Struggling with the swine fl u epidemic and

economic crisis, Mexican cinema attendance
could not match the strong growth trend expe-
rienced in most other Latin American markets,
with admissions decreasing by 2.2%, down
from a record 182 million in 2008 to 178 mil-
lion. Thanks to increasing average ticket prices
GBO revenues reached MXN 7 604 million (USD
562 million), up 2.9% from 2008. The Mexican
distribution sector remains a diffi cult one for inde-
pendent productions to secure screen space in
a market dominated by US blockbusters. In this
environment a higher number of national releases,
54 in 2009, failed to boost national market share.
In another year where not one domestic film
made it into the top 10, national market share
remained fairly stable at around 7.5%. During
2009 the local fi lm industry successfully fought off
proposed budget cuts in public funding and
obtained the strengthening of the 226 tax incen-
tive programme, now also accessible to interna-
tional co-productions, allowing producers a refund
of up to 17.5% of their total local spend. With
these measures Mexico is hoping to bring back
large-scale foreign productions and fi ght off com-
petition from other Latin American countries like
Colombia, Puerto Rico and Costa Rica which had
managed to attract foreign shoots with attractive
incentive schemes and low pay scales. The coun-
try’s screen base grew by 6.7% to 4 480, with the
number of digital screens increasing from 25 to
180, making Mexico the clear leader with regard
to digital roll-out in Latin American.

Brazil
Boosted by an economic recovery and the strong

performance of local fi lms, Brazilian cinema atten-
dance rose by an impressive 25.8% to 112.7 million
tickets sold, the highest level since 2004. Thanks
to an increase in 3D screens, rising from 20 at
the beginning of the year to 97 by the end of the
year, higher average ticket prices swelled 2009
GBO by 33.3% reaching a record BRL 970 mil-
lion (USD 483 million). A wave of local hits led by
Se Eu Fosse Voce 2, a sequel to the 2006 romantic
comedy, which sold some 5.5. million tickets and
became the highest-grossing domestic fi lm in recent
history – only Ice Age 3 scored higher –, turned
out to be a driving market force beside the tradi-
tionally strong US blockbusters. National market
share was up 4.5% to 14.3%, halting a downward
trend which had seen market share for domestic

fi lms fall from 21.4% in 2003 to 9.8% in 2008.
It has been argued among industry players that
the public funding incentive schemes introduced
in the early 1990s had succeeded in reviving a
practically non-existent fi lm production sector,
continuously growing from virtually zero to 84 fi lm
releases in 2009. However these schemes tar-
geted the production of art-house feature fi lms
not designed for mainstream success, hence their
failure to boost national market shares. In order
to correct this development the Brazilian cinema
agency Ancine introduced a new market-driven
incentive scheme, the so-called Sector Fund, in
2009. The new fund will support the local fi lm
and TV industry with an annual average of
BRL 100 million (USD 46 million), buying shares
in the films’ rights and focusing on films with
market potential. The fund also foresees a special
credit line for international co-productions and
digital roll-out support of the country’s exhibi-
tion sector, which at year end boasted 97 digital
screens. The total number of theatrical screens
decreased by 2.9% to 2 213.

Argentina
Despite the economic crisis, swine fl u and a

shrinking number of screens, cinema attendance
grew by 8.8% to 33.3 million tickets sold in 2009.
Driven by a strong increase in average ticket price
from ARS 11.8 to ARS 14.2 (USD 3.79), GBO
grew by 29.3% measured in local currency to ARS
471 million (USD 126 million). Besides US block-
busters, it was the strong performance of local
titles which drove the overall box offi ce. Led by
the award-winning El secreto de sus ojos, a co-
production with Spain and topping the charts
in 2009 with more than 2.2 million admissions,
national fi lms signifi cantly increased their market
share from 11.9% to 16%. This development could
also refl ect an impact of the stiffening of exhibi-
tion regulations introduced in early 2009 by the
country’s fi lm institute INCAA, forcing exhibitors
to screen local fi lms for at least two weeks in order
to secure screen space in a market which is tra-
ditionally dominated by US fi lms distributed on
large numbers of prints. As of March 2009 there
were 11 digital screens operational in Argentina.
The closure of a net 144 screens saw Argentina’s
total screen base decrease signifi cantly from 1 029
to 885 in 2009, the lowest level in recent years.

Sources: Observatorio del Cine y el Audiovisual
Latinoamericano, INCAA, Imcine, Ancine,

Screen International, Variety

48
Latin America

Number of screens in Latin America | 2005-2009

Source: Observatorio del Cine y el Audiovisual Latinoamericano
Mexico
Brazil
Argentina

Colombia
Venezuela
Chile
Peru
Uruguay

Top 10 fi lms by admissions in Brazil | 2009 e

Estimated admissions in Brazil based on average ticket price of 8.61 BRL (4.28 USD).

Original title
Country
of origin Director Admissions e

1 Ice Age: Dawn of the Dinosaurs US Carlos Saldanha, Mike Thurmeier 9 426 793
2 Se Eu Fosse Você 2 BR Daniel Filho 5 534 146
3 New Moon US Chris Weitz 5 333 363
4 2012 US/CA Roland Emmerich 4 991 315
5 Harry Potter and the Half-Blood Prince GB inc/US David Yates 4 204 839
6 X-Men Origins: Wolverine US Gavin Hood 3 178 599
7 Angels & Demons US Ron Howard 3 254 624
8 Avatar US/GB James Cameron 3 425 057
9 Night at the Museum: Battle of the Smithsonian US/CA Shawn Levy 2 454 226

10 A Mulher Invisível BR Cláudio Torres 2 382 130

Original title
Country
of origin Director Admissions e

1 Ice Age: Dawn of the Dinosaurs US Carlos Saldanha, Mike Thurmeier 12 236 101
2 Harry Potter and the Half-Blood Prince GB inc/US David Yates 6 581 189
3 2012 US/CA Roland Emmerich 6 033 959
4 Transformers: Revenge of the Fallen US Michael Bay 5 869 863
5 Avatar US/GB James Cameron 5 786 475
6 New Moon US Chris Weitz 5 764 637
7 Up US Pete Docter, Bob Peterson 4 402 792
8 Angels & Demons US Ron Howard 4 156 194
9 Fast & Furious 4 US Justin Lin 4 103 631

10 Monsters Vs. Aliens US Rob Letterman, Conrad Vernon 3 283 525

Sources: Observatorio del Cine y el Audiovisual Latinoamericano, BoxOffi ceMojo, OBS

Sources: Ancine, OBS

Top 10 fi lms by admissions in Mexico | 2009 e

Estimated admissions in Mexico based on average ticket price of 42.72 MXN (3.16 USD).

49
Latin America

Top 10 fi lms by admissions in Argentina | 2009 e
Estimated admissions in Argentina based on average ticket price of 14.16 ARS (3.79 USD).

Top 10 fi lms by gross box offi ce in Venezuela | 2009 e
GBO in Venezuela has been converted to USD based on an average exchange rate of 1 USD = 2.15 VEF.

Top 10 fi lms by gross box offi ce in Peru | 2009 e
GBO in Chile has been converted to USD based on an average exchange rate of 1 USD = 3.05 PEN.

Top 10 fi lms by gross box offi ce in Chile | 2009 e
GBO in Chile has been converted to USD based on an average exchange rate of 1 USD = 569.89 CLP.

Original title
Country
of origin

Gross box offi ce
Director (in USD) e

1 Ice Age: Dawn of the Dinosaurs US Carlos Saldanha, Mike Thurmeier 4 728 421
2 2012 US/CA Roland Emmerich 2 911 229
3 Avatar US/GB James Cameron 2 103 459
4 Transformers: Revenge of the Fallen US Michael Bay 2 073 812
5 Harry Potter and the Half-Blood Prince GB inc/US David Yates 1 955 229
6 G-Force US Hoyt Yeatman 1 870 837
7 New Moon US Chris Weitz 1 816 376
8 Up US Pete Docter, Bob Peterson 1 450 911
9 Angels & Demons US Ron Howard 1 316 272

10 Night at the Museum: Battle of the Smithsonian US/CA Shawn Levy 1 212 880

Original title
Country
of origin
Gross box offi ce
Director (in USD) e

1 Ice Age: Dawn of the Dinosaurs US Carlos Saldanha, Mike Thurmeier 7 059 639
2 2012 US/CA Roland Emmerich 3 975 408
3 Up US Pete Docter, Bob Peterson 3 611 904
4 Harry Potter and the Half-Blood Prince GB inc/US David Yates 3 457 955
5 Avatar US/GB James Cameron 3 249 669
6 New Moon US Chris Weitz 2 392 780
7 Angels & Demons US Ron Howard 2 190 863
8 Transformers: Revenge of the Fallen US Michael Bay 2 028 449
9 G-Force US Hoyt Yeatman 1 580 500

10 Night at the Museum: Battle of the Smithsonian US/CA Shawn Levy 1 368 452

Source: Incaa, OBS

Sources: CNAC, OBS

Sources: Conacine, OBS

Sources: Observatorio del Cine y el Audiovisual Latinoamericano, BoxOffi ceMojo, OBS
Original title
Country
of origin Director Admissions e

1 El secreto de sus ojos AR/ES Juan José Campanella 2 202 925
2 Ice Age: Dawn of the Dinosaurs US Carlos Saldanha, Mike Thurmeier 1 861 435
3 Harry Potter and the Half-Blood Prince GB inc/US David Yates 986 949
4 Angels & Demons US Ron Howard 773 893
5 Bolt US Byron Howard, Chris Williams 674 345
6 2012 US/CA Roland Emmerich 769 593
7 New Moon US Chris Weitz 750 417
8 Night at the Museum: Battle of the Smithsonian US/CA Shawn Levy 569 573
9 Bedtime Stories US Adam Shankman 512 785

10 Transformers: Revenge of the Fallen US Michael Bay 566 520

Original title
Country
of origin
Gross box offi ce
Director (in USD) e

1 Ice Age: Dawn of the Dinosaurs US Carlos Saldanha, Mike Thurmeier 11 579 756
2 2012 US/CA Roland Emmerich 8 001 814
3 Up US Pete Docter, Bob Peterson 7 209 321
4 Harry Potter and the Half-Blood Prince GB inc/US David Yates 6 573 273
5 G-Force US Hoyt Yeatman 5 154 643
6 Avatar US/GB James Cameron 2 539 845
7 Fast & Furious 4 US Justin Lin 4 578 534
8 Angels & Demons US Ron Howard 4 420 037
9 Night at the Museum: Battle of the Smithsonian US/CA Shawn Levy 4 348 542

10 Transformers: Revenge of the Fallen US Michael Bay 4 008 200

Australia

Admissions and gross box offi ce | 2005-2009

Sources: MPDAA, Screen Australia

Number of fi lms produced in Australia | 2005-2009

Source: Screen Australia

Population 2009 e 21.6 million
GDP per capita 2009 e 34 974 USD
Gross box offi ce 2009 (million) 1 087 M UD (848.4 M USD)
Admissions 2009 90.7 million
Average ticket price 2009 12.0 AUD (9.29 USD)
Average admissions per capita 2009 4.20
Screens 2008 | 2009 1 980 | 1 989
Digital screens 2008 | 2009 54 | 311
3D screens 2008 | 2009 ~ | 299

Market shares 2009
Total
100% national

Foreign fi lms
Co-productions

Admissions
(millions)

Gross box offi ce
(AUD million)

National
5.0%

US
95.0%

51
Australia

Top 20 fi lms by admissions in Australia | 2008
Estimated admissions based on average ticket price of 11.99 AUD.

Sources: Screen Australia, MPDAA, OBS

Original title
Country
of origin Director Distributor Admissions e

1 Harry Potter and the Half-Blood Prince GB Inc/US David Yates Warner Bros 3 385 939
2 Transformers: Revenge of the Fallen US Michael Bay Paramount 3 364 544
3 Avatar US/GB James Cameron Fox 3 236 901
4 New Moon US Chris Weitz Hoyts 3 082 343
5 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Fox 2 484 856
6 Up US Docter, Peterson Walt Disney 2 334 520
7 The Hangover US/DE Todd Phillips Warner Bros 1 785 266
8 Monsters vs. Aliens US Letterman, Vernon Paramount 1 716 822
9 2012 US/CA Roland Emmerich Sony Pictures 1 674 935

10 Slumdog Millionaire GB D. Boyle, L. Tandan Icon 1 574 461
11 X-Men Origins: Wolverine US Gavin Hood Fox 1 549 244
12 Angels & Demons US Ron Howard Sony Pictures 1 511 115
13 Night at the Museum: Battle of the… US/CA Shawn Levy Fox 1 441 455
14 Fast & Furious US Justin Lin Universal 1 428 826
15 The Proposal US Anne Fletcher Walt Disney 1 385 780
16 Gran Torino US/AU Clint Eastwood Roadshow 1 358 210
17 Star Trek US J.J. Abrams Paramount 1 338 916
18 Mao’s Last Dancer AU Bruce Beresford Roadshow/Hopscotch 1 250 358
19 Terminator Salvation US McG Sony Pictures 1 248 877
20 He’s Just Not That Into You US/DE Ken Kwapis Roadshow 1 227 628

Distribution and Exhibition
2009 saw Australia setting a new GBO record

for the second consecutive year, growing by 15%
to AUD 1.1 billion (USD 848 million), breaking
the AUD 1 billion benchmark for the fi rst time
in history. GBO growth was driven both by an
increase in cinema attendance, up 7.2% year-on-
year to 90.7 million admissions, and ticket price
increases. With an annual average of 4.2 cinema
tickets bought per citizen, Australia enjoys one
of the highest cinema going rates per person
in the world. In 2009 a total of 349 fi lms were
released, the highest level on record, and 48 fi lms
more than in 2008. Led by Mao’s Last Dancer
the 46 national releases took a 5% share of total
GBO. US fi lms continued to dominate the market,
accounting for half of all fi lms released in 2009
and taking a market share of 83%. Australian
screen count remained fairly stable with a total
of 1 989 screens, up 9 from 2008. The arrival of a
number of 3D blockbusters gave a boost to digital
roll-out with digital screens increasing from just
54 in 2008 to 311 by end 2009.

Production and Funding
Local feature fi lm production activity decreased

from 45 fi lms to 38 fi lms shooting in 2008/09,

breaking down into 29 entirely national fi lms,
3 co-productions and 6 foreign fi lms. Total pro-
duction spend in Australia, however, increased by
31% to AUD 359 million, primarily driven by two
local high-budget titles, Guardian of Ga’Hoole and
Happy Feet 2. Due to a strong Australian dollar, for-
eign spend collapsed, falling from AUD 105 million
in 2007/08 to a mere AUD 2 million in 2008/09.
Public funding for local productions, including
co-productions, accounted for just 9% of their
total budget in 2008/09, compared to a 5-year
average of 23%. This development refl ects an
overall decrease in direct public funding for fea-
ture fi lms. This funding is primarily administered
by Screen Australia, established in 2008 and
bringing together the country’s previous three
fi lm related agencies. On the other hand, the 40%
producer tax offset introduced in September 2008,
seems to have spurred investment from local fi lm,
TV industry sources, increasing from AUD 37 mil-
lion to AUD 130 million in 2008/09 and accounting
for 33% of total fi nancing, compared to a 5-year
average of 16%. Having contributed 18% in the
previous year, Australian private investors pulled
out of fi lm fi nancing, accounting for a mere 1% of
total budgets, leaving the majority fi nancing of local
fi lm production to foreign investors (57%).

Sources: Screen Australia, MPDAA,
Screen International, OBS

Asia

Admissions in selected Asian countries | 2005-2009
In millions.

Number of feature fi lms produced in Asia | 2005-2009
Sources: Taiwan Cinema, Singapore Film Commission,

Screen Digest, Screen International, FINAS, OBS

Sources: FINAS, Singapore Film Commission, Taiwan Cinema, Screen Digest, OBS

Philippines

Hong Kong e

Indonesia

Singapore

Philippines

Thailand
Hong Kong

Indonesia
Malaysia

Thailand
Taiwan

Taiwan
Malaysia

Singapore

Hong Kong Indonesia Malaysia Philippines Singapore Taiwan Thailand
Population 2009 e (millions) 7.1 230.8 27.8 92.2 4.8 23.2 67.1
GDP per capita 2009 e (USD) 29 172 2 030 26 513 1 698 37 170 14 365 4 005
GBO 2009 e (million USD) 152.2 102.2 (1) 114.1 113.8 (1) 115.3 172.3 101.3 (1)

Admissions 2009 e (millions) 20.1 (1) 50.1 (1) 44.1 65.4 (1) 22.0 23.6 27.1 (1)

Average ticket price 2009 e (USD) 6.95 (1) 2.04 (1) 2.59 1.74 (1) 5.25 7.29 3.74 (1)

Average admissions per capita 2009 e 2.9 (1) 0.22(1) 1.59 1.74 (1) 4.63 1.02 0.30 (1)

Screens 2009 221 (1) 712 (1) 485 770 (1) 175 565 737 (1)

Digital screens 2008 | June 2009 13 | 41 6 | ~ 5 | ~ 5 | ~ 28 | 23 29 | 38 18 | ~
National market shares 2009 e 21.0% ~ 13.7% ~ 3.8% 2.3% 37.5% (1)

(1) 2008

53
Asia

Top 10 fi lms by gross box offi ce in Singapore | 2009 e

GBO in Singapore has been converted to USD based on an average exchange rate of 1 USD = 1.45 SGD.

Original title
Country
of origin

Gross box offi ce
Director (in USD million)

1 Avatar US/GB James Cameron 8.43
2 Transformers: Revenge of the Fallen US Michael Bay 6.21
3 2012 US/CA Roland Emmerich 6.06
4 Harry Potter and the Half-Blood Prince GB inc/US David Yates 5.87
5 Up US Pete Docter, Bob Peterson 5.05
6 Ice Age: Dawn of the Dinosaurs US C. Saldanha, M. Thurmeier 4.16
7 Night at the Museum: Battle of the Smithsonian US/CA Shawn Levy 3.65
8 Ga yau hei si (All’s Well, Ends Well) HK Vincent Kok 3.18
9 The Curious Case of Benjamin Button US David Fincher 3.15

10 Slumdog Millionaire GB D. Boyle, L. Tandan 3.13

Original title
Country
of origin

Gross box offi ce
Director (in USD million) e

1 Avatar US/GB James Cameron 7.08
2 Transformers: Revenge of the Fallen US Michael Bay 5.43
3 2012 US/CA Roland Emmerich 4.13
4 Harry Potter and the Half-Blood Prince GB inc/US David Yates 3.23
5 Night at the Museum: Battle of the Smithsonian US/CA Shawn Levy 2.82
6 Up US Pete Docter, Bob Peterson 2.61
7 Ice Age: Dawn of the Dinosaurs US C. Saldanha, M. Thurmeier 2.54
8 X-Men Origins: Wolverine US Gavin Hood 2.34
9 G.I. Joe: The Rise of Cobra US/CZ Stephen Sommers 2.34

10 Alvin and the Chipmunks: The Squeakquel US Betty Thomas 2.13

Source: Screen International

Sources: Singapore Film Commission, OBS

Top 10 fi lms by gross box offi ce in Hong Kong | 2009

Distribution and Production
2009 GBO results were up in all mid-sized Asian

markets for which 2009 data were available. Taiwan,
representing the largest Asian market in terms of
GBO behind Japan, China, South Korea and India,
saw its GBO rising by 13.4% to USD 172.3 million,
followed by Hong Kong (+8.3%; USD 152 mil-
lion), Singapore (+9.8%; USD 115 million) and
Malaysia (+5.9%; USD 114 million). It was gen-
erally US blockbusters driving market growth in
these territories, with national market shares down
in Hong Kong (decreasing from 23% to 21%),
Taiwan (from 12% to 2.3%), Singapore (from 9%
to 3.8%) and only Malaysian fi lms able to increase
their market share from 12% to 13.7%. On the
production side, there is growing discussion of
interdependence within Asian cinema and the
growing importance of co-productions, particu-
larly among China, Hong Kong and Taiwan.

3D and Digital Cinema

Though at the fore-front of digital roll-out in its
early years, Asia has been lagging behind North
America and Europe in the last couple of years.

Generally the lack of regional third-party integra-
tors and the comparatively small size of cinema
circuits have impeded large-scale roll-out. Some
hope that digitisation is going to accelerate with
the arrival of high-profi le 3D blockbusters. However,
in territories with a traditionally high national
market share, the development of local 3D fi lms
will have to play an important role in truly driving
digital conversion. According to Screen Digest
the number of digital 3D screens increased from
344 in 2008 to 1 584 screens throughout Asia in
2009. 3D screens accounted thereby for about
45% of the total digital screen base of more than
3 500 screens in the region, the vast majority of
which were installed in China, Japan and South
Korea. In many other Asian territories exhibitors
are cautious about the economics of digital con-
version with many consumers not being able to
afford multiplex ticket prices, let alone 3D pre-
mium prices, instead turning to pirated 2D ver-
sions of 3D films. Hong Kong, however, went
ahead, warmly embracing the format with around
80 (40%) of its total 201 screens being equipped
with 3D projection systems by March 2010.

Sources: Screen International, MPIA, FINAS,
Taiwan Cinema, Screen Digest, OBS

People’s Republic of China

Population 2009 e 1 334.3 million
GDP per capita 2009 e 3 622 USD
Gross box offi ce 2009 (million) 6 200 M CNY (906.3 M USD)
Admissions 2009 e 217.8 million
Average ticket price 2009 28.5 CNY (4.16 USD)
Average admissions per capita 2009 0.16
Modern screens 2008 | 2009 4 097 | 4 723
Digital screens June 2009 | 2009 1 195 | 1 800
3D screens 2008 | 2009 110 | 750
Film VOD services 2008 | 2009 ~ | ~

Market shares 2009
Admissions and gross box offi ce | 2005-2009

Sources: SARFT, Screen International, Screen Digest, OBS

Number of feature fi lms produced and released in China | 2005-2009

Sources: SARFT, Screen Digest, Screen International, CMM Intelligence

Others
43.4%

National
56.6%

Feature fi lms
produced

Feature fi lms
released e

Admissions
(millions) e

Gross box offi ce
(CNY million)

55
People’s Republic of China

Original title
Country
of origin Director Distributor

Gross box offi ce
(in USD million)

1 2012 US/CA Roland Emmerich China Film Group (CFG) 67,5
2 Transformers: Revenge of the Fallen US Michael Bay Huaxia Film/CFG 63,0
3 Jian… (Founding of a Republic) CN S. Han, J. Huang China Film Group 61,5
4 Chi bi xia: Jue zhan… (Red Cliff II) CN John Woo China Film Group 37,9
5 San… (A Simple Noodle Story) CN Yimou Zhang China Film Group 34,0
6 Shi… (Bodyguards and Assassins) CN/HK Teddy Chan Polybona Film/CFG 30,5
7 Nanjing!… (City of Life and Death) CN/HK Chuan Lu China Film Group 25,2
8 Feng sheng (The Message) CN K. Chen, Q. Gao Huayi Bros./Taihe Invest. 32,8
9 Harry Potter and the Half-Blood Prince GB inc/US David Yates ~ 23,0

10 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier China Film Group 22,8
Sources: Screen International, OBS

Top 10 fi lms by gross box offi ce in China | 2009

Distribution and Exhibition
Primarily driven by a surge in new cinema

screens, 2009 gross box offi ce revenue grew to
CNY 6.2 billion (USD 910 million). This repre-
sents a 44% increase year-on-year and the highest
growth rate in six years during which China has
seen its box offi ce rising by more than 30% per
year on average. This impressive growth in box
offi ce is primarily attributed to the higher number
of modern screens, up by 626 to 4 723 screens
in 2009, primarily in multiplexes in major cities.
The increasing screen base has led to Chinese
GBO records falling on a regular basis. Previously
held by Titanic (CNY 360 million) since 1998, it
fi rst was broken by the Transformers sequel in
mid-2009, only to be broken a couple of months
later by 2012 and fi nally Avatar in early 2010. In
August 2009 a World Trade Organization ruling
ordered China to stop forcing US content owners
to use government-controlled distribution com-
panies. It did not, however, address China’s import
quotas including an annual quota of 20 revenue-
sharing fi lms and another 30-40 fi lms which can be
distributed on a fl at-fee basis. China’s appeal on
this ruling was rejected by the WTO in December
2009. Earlier on this year China’s State Council
reiterated a 2002 rule limiting the distribution of
foreign fi lms to one-third of total cinema screen
time. China’s growth trend is likely to continue
with the State Administration of Radio Film And
Television (SARFT) considering building screens in
small and medium-sized cities as well as bringing
ticket prices more in line with average incomes.

Digital Cinema
Thanks to public support, digital cinema rollout

picked up speed in 2009, with about 1 800 DCI
compliant digital screens operational by the end
of year, 1 000 screens up from 2008. According

to China Film Group there were about 750 3D
screens. This makes China by far the second largest
territory in terms of digital cinema, ranking only
behind the US. By November 2009 a total of
102 films had been released in digital format
grossing a combined USD 167 million. This com-
pares to 62 digital fi lms in 2008 grossing USD
76 million. In its efforts to support digital cinema
SARFT granted China Film Digital in 2008 special
approval to import 3D fi lms outside of the annual
20 quota. China Film Digital was reported to
have planned the import of fi ve fi lms for 3D-only
release in 2009 including Up, Ice Age: Dawn of
the Dinosaurs, Monsters vs. Aliens and Fly me to
the Moon.

Production
Feature fi ction fi lm production increased to

456 productions in 2009, up 50 fi lms from 2008.
Led by The Founding of a Republic, by far the most
successful Chinese fi lm of all time, national fi lms
captured a market share of about 57%, down from
61% in 2008. In order to fi nance high budget
blockbusters and improve the export of Chinese
fi lms, co-productions, particularly with Hong Kong
and Taiwan, could become increasingly impor-
tant for the Chinese fi lm landscape. Also, in what
appears to be a major change, large production
companies are encouraged to look for funding
via the stock markets, thus opening up to foreign
capital. Huayi Bros, for example, intends to raise
USD 91 million from an IPO on the Shenzhen Stock
Exchange’s ChiNext, China Film Group plans to get
listed in the fi rst half of 2010 and Beijing Polybona
intends to go public in the US in 2011.

Sources: SARFT, Screen International, Variety,
Beijing Review, The Hollywood Reporter,

Screen Digest, CMM Intelligence

qcuser
Highlight

56
Japan

Population 2009 e 127.6 million
GDP per capita 2009 e 39 116 USD
Gross box offi ce 2009 (billion) 206.0 bn JPY (2.2 bn USD)
Admissions 2009 e 169.3 million
Average ticket price 2009 1 217 JPY (13.00 USD)
Average admissions per capita 2009 1.3
Screens 2008 | 2009 3 359 | 3 396
Screens in Multiplexes 2008 | 2009 e 79% | 80%
Digital screens June 2008 | June 2009 94 | 229

Market shares 2009
Admissions and gross box offi ce | 2005-2009

Source: EIREN

Gross box offi ce
(JPY billion)

Admissions
(millions)

Number of fi lms released in Japan | 2005-2009

Source: EIREN
Total
National fi lms

Imported fi lms

Others
43.1%

National
56.9%

57
Japan

Top 20 fi lms by admissions in Japan | 2009 e

Estimated admissions based on average ticket price of JPY 1 217.

Sources: EIREN, OBS

Original title
Country
of origin Director Distributor Admissions e

1 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 7 025 472
2 Rookies: Sotsugyô JP Yûichirô Hirakawa Toho 6 573 541
3 Chi bi xia: Jue zhan… (Red Cliff II) CN John Woo Toho-Towa/Avex 4 560 394
4 This Is It US Kenny Ortega Sony Pictures Ent. 4 272 802
5 Pokémon: Arceus and the Jewel of Life JP Kunihiko Yuyama Toho 3 837 305
6 20-seiki… (20th Century Boys 3) JP Yukihiko Tsutsumi Toho 3 623 665
7 Evangelion: 2.0 You Can (Not)Advance JP Masayuki, Tsurumaki Klock Worx 3 286 771
8 Wall-E US Andrew Stanton Walt Disney 3 286 771
9 2012 US/CA Roland Emmerich Sony Pictures Ent. 3 122 432

10 Amarufi : Megami no hôshû (Amalfi ) JP Hiroshi Nishitani Toho 2 999 178
11 Detective Conan: The Raven Chaser JP Taiichiro Yamamoto Toho 2 875 924
12 Gokusen: The Movie JP Toya Sato Toho 2 859 491
14 Angels & Demons US Ron Howard Sony Pictures Ent. 2 728 020
15 Terminator Salvation US McG Sony Pictures Ent. 2 728 020
13 Yomei 1-kagetsu no… (April Bride) JP Ryuichi Hiroki Toho 2 588 332
18 Yattâman (Yatterman) JP Takashi Miike Shochiku/Nikkatsu 2 580 115
16 Kurôzu zero II (Crows II) JP Takashi Miike Toho 2 506 163
19 20-seiki… (20th Century Boys 2) JP Yukihiko Tsutsumi Toho 2 481 512
17 Shizumanu taiyô (The Unbroken) JP Setsurô Wakamatsu Toho 2 473 295
20 Mamma Mia! US/GB inc/DE Phyllida Lloyd Toho 2 300 740

Distribution and Exhibition
Japanese box offi ce grew by 5.7% to JPY 206 bil-

lion (USD 2.2 billion) in 2009, hitting the second
highest level of all time. Box offi ce growth was
principally due to an exceptional 5.5% increase in
admissions up almost 9 million. Despite a signifi –
cant drop in the number of foreign fi lms released
and a surge in local fi lm releases, national market
share dropped from its 2008 record share of 59.5%
to 56.9%, hinting at an increasing polarization
between a limited number of big local blockbusters
and a large number of small-scale fi lms struggling
to recoup their investments. This causes an ever
widening gap between a few top tier distribu-
tors like Toho and dozens of mid- and small sized
distributors struggling to survive. This develop-
ment is closely linked to the market dominance
of multiplex cinemas, accounting for 80% of total
screens and giving more screen space to popular
titles. Market access for foreign fi lms, particularly
independent fi lms, has become increasingly diffi –
cult with the number of international titles falling
dramatically from 388 in 2008 to 314. This is due
to a shift in audience taste towards local block-
busters and away from foreign fi lms, particularly
small and mid-budget titles, leading to an overall
decrease in acquisitions and contributing to a crisis
in the country’s independent distribution sector

which saw several players such as Movie-Eye, Wise
Policy, Rumble Fish and Xanadeux go bankrupt in
2009. These diffi culties have been compounded
by the dramatic decrease of the video market
which had been a vital revenue source for many
smaller distributors.

Production
With 448 national productions released in 2009,

Japan’s production activity reached its highest
level since the late 1960s-development which
some regard as a Japanese fi lm bubble. 2009 saw
another year of fi lms based on familiar content
such as TV series and manga adaptations domi-
nating the box offi ce, with three of these fi lms,
baseball drama Rookies and the latest instalments
of Pokémon and 20th Century Boys, becoming the
three most successful Japanese fi lms in 2009. In
what could be regarded as a specifi c character-
istic of the Japanese fi lm industry, the involve-
ment of a TV network and its cross-promotion
activities have become an essential factor for the
box offi ce and video success of a fi lm. Just as in
distribution, a widening gap between major and
smaller producers can be observed.

Sources: EIREN, UNIJAPAN – The Guide to
Japanese Film Industry & Co-production,

Screen International, Variety

India

Distribution and Exhibition
Though reliable recent fi gures on the Indian

fi lm industry are virtually unavailable, it is fair to
assume that 2009 proved to be a diffi cult year for
the Indian box offi ce. A two-month dispute between
Indian producers with multiplex chains blacked out
Indian multiplex screens at the beginning of April,
with producers refusing to release any big fi lms until
their demands for higher revenue-sharing agree-
ments were met in early June. Multiplex opera-
tors fi nally agreed on a 50:50 split regardless of
cast or budget in the fi rst week of a fi lm’s release.
Nevertheless it seems unlikely that multiplexes,
which – depending on the source – account for
something between 50% and 70% of India’s box
office, were able to compensate in the second
half of the year for the loss in admissions during
the strike, with 2009 markets further negatively
affected by swine fl u and piracy. This assumption
is backed by the Federation of Indian Chambers
of Commerce and Industry reporting that in 2009
the total fi lmed entertainment revenues decreased
by 19% from INR 109 billion (USD 2.4 billion) in
2008 to INR 89 billion (USD 2 billion). A report
commissioned by the Motion Picture Distributors
Association estimated India’s total GBO at USD 1.8 bil-
lion for the fi nancial year 2008/09. However, future

box offi ce growth should be ensured thanks to a
surge of new multiplex screens announced by var-
ious old and new players. National fi lms took a
market share of 92% in 2008. There were a total
of 115 DCI-compliant digital screens operational
in India by mid-2009.

Production
With a total of 819 Indian feature fi lms in 21 lan-

guages certifi ed in 2009, India’s production levels
dropped signifi cantly from 1 132 in 2008 but the
country remains the fi lm industry with the highest
production output in the world. Films in Hindi
accounted for 20% of total output, followed by
Telugu and Tamil fi lms accounting for 17% and
14% respectively. The two month strike in the fi rst
half of 2009 created a bottleneck for screen space
in multiplexes for the increased number of fi lm
releases scheduled for the second half of the year,
making it more diffi cult for fi lms to reach their full
potential and intensifying the problems of many
local fi lms to recoup their costs, which have risen
signifi cantly in recent years.

Sources: FICCI, Screen International,
Variety, Screen Digest, Screenindia

Market shares 2008

National
92.0%

Others
8.0%

Population 2009 e 1 207 million
GDP per capita 2009 e 982 USD
Gross box offi ce 2008 (billion) 80.54 bn INR (1.86 bn USD)
Admissions 2008 2.9 billion
Average ticket price 2008 27.7 INR (0.57 USD)
Average admissions per capita 2008 2.41
Screens 2008 | 2009 10 120 | ~
Digital screens 2008 | June 2009 112 | 115
3D screens 2008 | 2009 ~ | 50

Sources: IBOS network, IMDB, OBS

Top 10 Hindi fi lms by net box offi ce in India | 2009 e

GBO in USD million calculated using an average exchange rate of 48.85 INR.

Original title
Country
of origin Director Distributor

Net box offi ce
(in USD million) e

1 3 Idiots IN Rajkumar Hirani Reliance Big Pictures 53.12
2 Ajab Prem Ki Ghazab Kahani IN Rajkumar Santoshi Shemaroo 18.54
3 Love Aaj Kal IN Imtiaz Ali Eros International 15.59
4 Wanted (2009) IN Prabhu Deva ~ 15.23
5 De Dana Dan IN Priyadarshan Venus 13.22
6 Kambakkht Ishq IN Sabir Khan Eros International 12.89
7 Paa (2009) IN R. Balki, Ricky Sandhu Reliance Big Pictures 12.61
8 All the Best: Fun Begins IN Rohit Shetty ~ 12.29
9 Kaminey IN Vishal Bhardwaj ~ 12.23

10 New York IN Kabir Khan Yash Raj Films 10.91

qcuser
Highlight

South Korea

Source: KOFIC

Distribution and Exhibition
Thanks principally to local fi lms, admissions

increased by 4% to 156.8 million tickets sold, the
second best result after the record year of 2007.
Supported by an increase in ticket prices GBO
increased by 11.6%, amounting to KRW 979 bil-
lion (USD 888 million). An increase in standard
ticket prices was implemented by major exhibition
chains in summer 2009, raising standard prices
by KRW 1 000, up 14%, and this marks the fi rst
price increase in eight year according to exhibi-
tors. With theatrical box offi ce accounting for
about 70% to 80% of the Korean fi lm industry’s
total revenue – as DVD, ancillary markets and fi lm
exports are struggling – the move was regarded as
an important factor in increasing the profi tability
of the local fi lm industry. In contrast to Europe,
US 3D blockbusters did not appear to be a major
driving force of the market in 2009. This role was
reserved for Korean fi lms, which saw admissions
rising by an impressive 19% year-on-year, claiming
a market share of 48.8%, cautiously easing their
way back to the levels of the golden years between
2003 and 2006. Admissions to all foreign fi lms
decreased signifi cantly. A total of 361 feature fi lms
were released in 2009, including 142 US and
118 Korean releases. Distributor CJ Entertainment
kept its market leading position with a market

share of 29%, followed by Showbox / Mediaplex
(15%) and Lotte Entertainment (12%). By the
end of 2009 about 29% of the country’s screen
base had been converted to digital projection
(571 screens), including 129 3D screens.

Production and Funding
After falling for the fi rst time in many years

in 2008, Korean production levels reached a
new record high of 138 fi lms in 2009, 25 fi lms
more in 2008. It remains to be seen whether,
backed by the positive 2009 box offi ce results,
the Korean fi lm industry will be able to return to
making profi ts after having experienced negative
earning rates for three consecutive years: 2006
(-28.4%), 2007 (-40.5%) and 2008 (-24.5%),
pushing the local industry into a crisis. In November
2009 KOFIC presented a plan for reform, plan-
ning to merge departments and turn several
advance fi nancing programmes into “after-the-
fact” rebates, i.e. awarding completed fi lms rather
than giving out pre-production funding. Earlier on
this year KOFIC announced that it was increasing its
support budget for the local 3D industry, particu-
larly for training 3D professionals in the areas of
fi lm, games and animation.

Sources: Korean Film Council (KOFIC),
Screen International, Screen Digest

Market shares 2009

Others
51.2%

National
48.8%

Population 2009 e 48.7 million
GDP per capita 2009 e 14 946 USD
Gross box offi ce 2009 10 928 bn KRW (854.4 M USD)
Admissions 2009 156.8 million
Average ticket price 2009 6 970 KRW
Average admissions per capita 2009 3.22
Screens 2008 | 2009 2 004 | 1 996
Digital screens 2008 | 2009 324 | 571
3D screens 2008 | 2009 ~ | 129

Top 10 fi lms by admissions in South Korea | 2009

Original title
Country
of origin Director Distributor Admissions

1 Haeundae KR Je-gyun Yun CJ Entertainment 11 325 228
2 Gukga daepyo (Take off) KR Yong-hwa Kim Showbox/Mediaplex 8 392 953
3 Transformers: Revenge of the Fallen US Michael Bay CJ Entertainment 7 394 025
4 2012 US/CA Roland Emmerich Sony Pictures Releasing 5 374 975
5 Avatar US/GB James Cameron 20th Century Fox 5 111 742
6 Terminator Salvation US McG Lotte Entertainment 4 500 912
7 Chilgeup… (My Girlfriend is…) KR Terra Shin Lotte Entertainment 4 043 064
8 Kwasok scandle (Scandal Makers) KR Hyeong-Cheol Kang Lotte Entertainment 3 848 813
9 Ssang-hwa-jeom (A Frozen Flower) KR Ha Yu Showbox/Mediaplex 3 291 708

10 Geobugi dallinda (Running Turtle) KR Yeon-woo Lee Showbox/Mediaplex 3 025 586

Africa

Admissions in selected African countries | 2004-2008
In millions.

Sources: Screen Digest, Euromed, CCM, Les cahiers du cinéma

Number of feature fi lms produced in selected
African countries | 2005-2009

Sources: Dubai International Film Festival, Screen Digest

South Africa e
Egypt e

Tunisia
Morocco
South

Africa

Egypt

Morocco e

Algeria Egypt Morocco
South
Africa Tunisia

Population 2009 e (millions) 35.3 76.5 31.9 49.2 10.4
GDP per capita 2009 e (USD) 3 640.5 2 456.8 2 655.2 4 943.2 3 812.9
Gross box offi ce 2009 (million USD) e 0.02 54.9 8.5 52.3 (1) ~
Admissions 2009 e (millions) 0.03 25.6 3.0 26.1 (1) ~
Average ticket price 2009 (in USD) e 0.00 0.34 0.09 0.54 (1) ~
Average admissions per capita 2009 e 1.33 4.57 2.35 2.00 (1) 2.32
Screens 2009 e 19 400 74 836 (1) 18
Digital screens 2009 e ~ 3 ~ 11 (1) 3
National market shares 2008 e ~ 80% 15% ~ ~
(1) 2008 Sources: Dubai International Film Festival, Screen Digest, Variety, Euromed

61
Africa

A continent with two types
of fi lm industries

A structured fi lm industry based on existing
networks of production studios, distribution and
exhibitions chains comparable to international
fi lm industries can only be found in South-Africa
and Egypt with about 26 million cinema tickets
sold a year, as well as in Morocco with about
3 million admissions per year. Despite having
reduced its fi lm output from 100 fi lms to about
35 fi lms a year, Egypt remains the hub of Arabic-
language fi lm production, distributing its fi lms
into the entire Arab world. Budgets range from
USD 1.3 to 5.5 million. Supported by distribu-
tion limitations for foreign fi lms (maximum of
8 prints per title) national market share is about
80%. Thanks to public support the Moroccan fi lm
industry has seen signifi cant uplift both in terms

of rising production volumes as well as increasing
national market share, with Moroccan fi lms ranking
second right after US fi lms in 2009.

On the other hand, there is a video-based
fi lm industry which has been thriving in many
African countries in recent years and has become
a defi ning part of audiovisual culture. It is char-
acterized by low-budget, high-volume fi lm pro-
ductions distributed primarily via VHS, DVD
and TV networks across all of Africa. Inspired by
‘Nollywood’, Nigeria’s fi lm industry producing up
to 1 000 fi lms and more each year with average
budgets traditionally ranging between USD 5 000
to 10 000, other African countries like Kenya and
Ghana are increasingly producing low-budget fi lms
focussing on local themes.

Sources: African Film and TV Yearbook and
Directory, Dubai International Film Festival,

THR Intelligence, Nielsen Egypt, Variety

Top 5 foreign fi lms by admissions in Egypt (1) | 2009

Top 5 Arabic fi lms distributed by The United Artist Group
by admissions in Egypt (1) | 2009
Estimated admissions based on average ticket price of USD 4.57.

Top 10 fi lms by admissions in Morocco (1) | 2009

Original title
Country
of origin Director Distributor Admissions

1 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros.UMP 80 559
2 The Curious Case of Benjamin Button US David Fincher Warner Bros.UMP 76 045
3 Transformers: Revenge of the Fallen US Michael Bay Paramount/4 Star 68 271
4 Night at the Museum: Battle of the… US/CA Shawn Levy Fox/UMP 62 139
5 Twilight US Catherine Hardwicke Universal/4 Star 60 224

Original title
Country
of origin Director Distributor Admissions e

1 Ramadan Mabrouk Abu Almaien… EG Wael Ehsan United Art. Group 1 390 250
2 Omar wa Salma 2 EG Ahmed Al badri United Art. Group 949 048
3 Alf Mabrouk EG Ahmad Nader Jalal United Art. Group 797 695
4 Bobos EG Wael Ehsan United Art. Group 743 401
5 Ibrahim Al Abiad EG Marwan Ahmed United Art. Group 619 664

Original title
Country
of origin Director Distributor Admissions e

1 Fast and Furious 4 US Justin Lin UIP 413 032
2 Casanegra MA Nour Eddine Lakhmari Sigma Production 207 082
3 Amours voilées MA Aziz Salmy Films de Cléopâtre 176 786
4 Ex Chamkar MA Mahmoud Fritès ~ 108 440
5 Coco FR Gad Elmaleh 54 146
6 Number One MA Zakia Tahri ~ 27 410
7 Night at the Museum: Battle of the… US/CA Shawn Levy 20th Century Fox 26 823
8 Cabaret EG Sameh Abdel-Aziz ~ 24 888
9 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 22 492

10 Angels & Demons US Ron Howard Sony 20 052

(1) as of 7 October 2009. Sources: Dubai International Film Festival, THR Internatinational, Nielsen EDI, OBS

(1) as of 13 October 2009. The United Artists Sources: Dubai International Film Festival,
Group accounts for 45-50% of the total market. THR International, Nielsen EDI, OBS

(1) as of 31 October 2009. Sources: Dubai International Film Festival, IMDB

Middle East

Admissions in selected Middle Eastern countries | 2004-2008
In millions.

Sources: Dubai International Film Festival,
Screen Digest, Israel Film Fund

Screens in selected Middle Eastern countries | 2005-2009

Sources: Dubai International Film Festival, Screen Digest

United Arab
Emirates e

Lebanon

Lebanon e

Israel e

Kuwait e

Bahrain
Qatar
Jordan

Israel e

United Arab
Emirates

Bahrain Israel Kuwait Lebanon Qatar
United Arab

Emirates
Population 2009 e (millions) 0.8 7.3 3.5 3.8 1.2 4.9
GDP per capita 2009 e (USD) 22 809 28 081 30 041 8 132 81 861 43 857
Gross box offi ce 2008 (million USD) 16.9 105.8 19.8 12.2 13.0 74.2
Admissions 2008 e (millions) 2.2 10.0 2.2 2.0 1.5 8.8
Admissions per capita 2008 2.8 1.4 0.7 0.5 1.3 1.8
Average ticket price 2009 (USD) e 7.95 10.58 9.5 6.65 8.85 (1) 8.5 (1)

Screens 2009 e 52 380 (1) 57 80 37 236
Digital screens 2009 e 1 14 (1) 10 12 ~ 3
National market shares 2008 e ~ 12% ~ ~ ~ ~
(1) 2008 Sources: Dubai International Film Festival, Screen Digest

63
Middle East

Israel
With an estimated 10 million admissions, GBO

of USD 85 million and some 380 screens, Israel
represents the largest cinema market in the region
for which data are available. With some 14 to
18 entirely national feature fi lms, 3 to 5 interna-
tional fi ction co-productions and 5 to 10 feature
documentaries a year Israel is also a prolifi c fi lm
producer in the region. The average budget ranges
from USD 500 000 to 1 million.

Gulf Co-operation Council (GCC)
With a box offi ce of about USD 74 million and

8.75 million admissions in 2008, the United Arab
Emirates (UAE) represent the largest fi lm market
among the GCC. In comparison, Kuwait and Bahrain
registered about 2.2 million admissions in 2008,
while about 1.5 million cinema tickets were sold
in Qatar. Throughout the region US fi lms tend to
dominate the local box offi ce, especially in the
UAE and Kuwait, while Arabic – mostly Egyptian –
movies gained high market shares in Bahrain and
Qatar. With 236 screens the UAE accounts for about
62% of the region’s estimated total of 382 screens.
However in terms of digital cinema, Kuwait is leading

the way with 10 digital screens out of its total
screen base of 57. The past two years have seen
signifi cant efforts to boost the region’s fi lm industry
with Abu Dhabi launching TwoFour54,a multimedia
park with production facilities, and its production
arm Imagenation closing three major fi nancing
deals as well as Qatari media group Alnoor launching
a USD 200 million fi lm fund in late 2009.

Levant
The Levant cinema markets are signifi cantly

smaller with Jordan, the Palestinian Territories and
Syria staying well below the 1 million admissions
mark, which is only crossed by Lebanon with some
2 million cinema tickets sold in 2008. As in the
GCC, US and Egyptian fi lms dominate the mar-
kets. In terms of local production activity Palestine
leads the way with 13 feature fi lms in 2009, all
of which are international co-productions, while
Syria and Lebanon produce about 3 feature fi lms a
year. Lebanon accounts for 80 out of the Levant’s
estimated 149 screens and is at the forefront of
digital cinema in the region with 12 digital screens
by the end of 2009.

Sources: Dubai International Film Festival, THR
Intelligence, Nielsen Egypt, Variety, Screen International

Top 10 fi lms by admissions in the United Arab Emirates (1) | 2009

Top 10 fi lms by admissions in Bahrain (1) | 2009

Original title
Country
of origin Director Distributor Admissions

1 Transformers: Revenge of the Fallen US Michael Bay UIP 260 894
2 Fast & Furious 4 US Justin Lin UIP 525 021
3 Terminator Salvation US McG Gulf Film 185 957
4 Harry Potter and the Half-Blood Prince GB inc/US David Yates Fox 164 392
5 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Warner. Bros. 170 552
6 Slumdog Millionaire GB D. Boyle, L. Tandan Gulf Film 157 386
7 G.I. Joe: The Rise of the Cobra US/CZ Stephen Sommers UIP 144 946
8 Angels & Demons US Ron Howard COL 127 079
9 Alf Mabrouk EG Ahmad Nader Jalal Gulf Film 124 176

10 Night at the Museum: Battle of the… US/CA Shawn Levy Fox 123 734

Original title
Country
of origin Director Distributor Admissions

1 Omar wa Salma 2 EG Ahmed Al badri Gulf Film 61 849
2 Fast & Furious 4 US Justin Lin Gulf Film 49 558
3 Asif Ala El Ezaaj EG Khale Maraay Gulf Film 42 165
4 Al Dada Doudy EG Ali Edrees Gulf Film 36 058
5 Race to Witch Mountain US Andy Fickman ~ 35 787
6 Ramadan Mabrouk Abu Al Almaien… EG Wael Ehsan Gulf Film 33 836
7 Transformers: Revenge of the Fallen US Michael Bay Gulf Film 33 313
8 Harry Potter and the Half-Blood Prince GB inc/US David Yates Shooting Stars 27 632
9 Sokkan Shehata EG Khaled Youssef Gulf Film 26 277

10 Terminator Salvation US McG Gulf Film 26 277

(1) as of 7 September 2009. Sources: Dubai International Film Festival, THR Intelligence, Nielsen EDI

(1) as of 3 October 2009. Sources: Dubai International Film Festival, THR Intelligence, Nielsen EDI

ANICA IT www.anica.it
Audiovisual Information Centre SK www.aic.sk
Boxoffi ce.pl PL www.boxoffi ce.pl
Canadian Film and Television Prod. Assoc. (CFTPA) CA www.cftpa.ca
Carlton Screen Advertising (CAA) IE www.carltonscreen.ie
Centre national de l’audiovisuel (CNA) LU www.cna.public.lu
Centro Studi ed Analisi di Cinecittà Holding (CCH) IT www.cinecitta.com/holding/societa/index.asp?id=15
Centrul National al Cinematografi ei (CNC) RO www.cncinema.abt.ro/
Cinetel IT www.cinetel.it
CMM Intelligence CN www.cmmintelligence.com
CNC FR www.cnc.fr
Czech Film Center CZ www.fi lmcenter.cz
Danish Film Institute (DFI) DK www.dfi .dk
Digital Cinema Media GB www.dcm.co.uk
Dubai International Film Festival AE www.dubaifi lmfest.com
EIREN Motion Picture Association of Japan JP www.eiren.org
Estonian Film Foundation (EFSA) EE www.efsa.ee
Fachverband der Audiovisions- und Filmindustrie AT www.fafo.at
FFA DE www.ffa.de
Film og Kino NO www.fi lmweb.no/fi lmogkino
Filmski Sklad Republike Slovenije (FSRS) SI www.fi lm-sklad.si
Finnish Film Foundation (FFF) FI www.ses.fi
Fundación del Nuevo Cine Latinoamericano CU www.cinelatinoamericano.org
Greek Film Center GR www.gfc.gr
Hagstofa Islands (HI) IS www.statice.is
Hrvatski audiovizualni centar (HAVCR) HR www.havcr.hr
IBOS Network IN www.ibosnetwork.com
ICAA ES www.mcu.es/cine/index.html
Instituto do Cinema e do Audiovisual (ICA) PT www.ica-ip.pt
Irish Film Board (IFB) IE www.irishfi lmboard.ie
Korean Film Council (KOFIC) KR www.koreanfi lm.or.kr
Le fi lm français FR www.lefi lmfrancais.com
MEDIA Salles IT www.mediasalles.it
Ministry of Culture CZ www.mkcr.cz
Moniteur du fi lm en Belgique (MFB) BE
MPAA US www.mpaa.org
National Film Center (NFC) BG www.nfc.bg
National Film Centre (NFC) LV www.nfc.lv
National Film Development Corp. of Malaysia (FINAS) MY www.fi nas.gov.my
National Film Offi ce (NFO) HU www.nemzetifi lmiroda.hu
Nederlands Fonds voor de Film (NFF) NL www.fi lmfund.nl
NFC (NVB – NVF) NL www.nfcstatistiek.nl
Norsk Filminstitutt (NFF) NO www.nfi .no
Observatoire de la culture du Québec CA www.stat.gouv.qc.ca/observatoire/default.htm
Observatorio del Cine y el Audiovisual Latinoamericano CU www.cinelatinoamericano.org/estudios2.aspx?cod=92
Offi ce fédéral de la statistique (OFS) CH www.admin.ch/bfs
Österreichisches Filminstitut (ÖFI) AT www.fi lminstitut.at
Polish Film Institute (PISF) PL www.pisf.pl
Russian Film Business Today (RFBT) RU www.kinobusiness.com
SARFT CN www.sarft.gov.cn
Screen Australia AU www.screenaustralia.gov.au
Screen Digest GB www.screendigest.com
Screen International GB www.screendaily.com
Service Général de l’audiovisuel et des multimedias (SGA) BE www.audiovisuel.cfwb.be
Sinema Gazetesi TR
Singapore Film Commission SG www.sfc.org.sg
Slovak Film Insitute (SKFI) SK www.sfu.sk
SMAIS IS www.smais.is
SPIO DE www.spio.de
Swedish Film Institute (SFI) SE www.sfi .se
Taiwan Cinema TW www.taiwancinema.com
UK Film Council (UKFC) GB www.ukfi lmcouncil.org.uk
Unie Filmovych Distributoru (UFD) CZ www.ufd.cz
Variety www.variety.com

Sources
FOCUS 2010 was prepared by the European Audiovisual Observatory. We would like to thank the following sources:

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Come and see us on our stand:
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Stand telephone:
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15.00 – 16.30, Sunday 16th May, 2010

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focus 200

World Film Market Trends
Tendances du marché mondial du film

Editorial
Editorial

FOCUS 2005, Tendances du marché mondial du
film, paraît pour la huitième année consécutive.
Nous nous réjouissons de cette nouvelle collabora-
tion avec le Marché du Film, à laquelle nous por-
tons toute l’estime qu’elle mérite.

Wolfgang CLOSS
Directeur exécutif
Observatoire européen de l’audiovisuel

FOCUS 2005 World Film Market Trends appears
for the eighth consecutive year. We are pleased
to collaborate once again with the Cannes Market
and value highly our work together.

Wolfgang CLOSS
Executive Director
European Audiovisual Observatory

The European Audiovisual Observatory has been
in existence for over

years. It is a public-service
body whose mission is to gather and distribute infor-
mation on the audiovisual industry (film, television,
video and multimedia) in Europe.

5 European states
are members, along with the European Community
represented by the European Commission. The Obser-
vatory operates within the framework of an extended
partial Agreement of the Council of Europe. It carries
out its mission with the help of a network of partners,
correspondents and professional organisations. The
Observatory provides information on markets,
financing and legal aspects of the audiovisual sector.

! Internet site (http://www.obs.coe.int)

Créé en décembre

92, l’Observatoire européen de
l’audiovisuel est un organisme de service public consacré
à la collecte et à la diffusion de l’information sur l’in-
dustrie audiovisuelle (cinéma, télévision, vidéo et multi-
média) en Europe.

Etats européens en sont membres
ainsi que la Communauté européenne représentée par
la Commission européenne. L’Observatoire fonctionne
dans le cadre d’un Accord partiel élargi du Conseil de
l’Europe et remplit sa mission avec un réseau de parte-
naires, de correspondants et d’organismes profession-
nels. L’Observatoire fournit des services d’informations
sur les marchés, les financements et le cadre juridique
du secteur audiovisuel.

! Site Internet (http://www.obs.coe.int)

Comme le fait remarquer André Lange dans
les pages qui suivent, le développement des
coproductions multinationales est tel qu’il
devient de plus en plus difficile de déterminer la
nationalité d’un film. Cette internationalisation
croissante apparaît cependant comme une
nécessité pour financer un grand nombre de
films et leur permettre d’atteindre une réelle
audience.

C’est dans ce contexte que nous sommes
heureux de vous proposer, avec cette huitième
édition de FOCUS, une vision synthétique de la
production et de la distribution dans une grande
partie du monde.

Je ne doute pas que producteurs, exporta-
teurs, distributeurs, institutionnels sauront tirer
profit de ce remarquable travail réalisé par
l’Observatoire Européen de l’Audiovisuel.

Jérôme Paillard
Directeur Délégué

As André Lange points out in the texts
that follow, the big increase in multinational
co-productions has become such that it is
becoming more and more difficult to deter-
mine the nationality of a film. This growing
internationalisation is necessary to enable a
larger number of films to be financed and to
be seen by a wider audience.

It is within this context that we are pleased
to present this eighth edition of FOCUS with
its concise view of production and distribu-
tion around the globe.

I do not doubt but that producers,
exporters, distributors and institutions will
use this remarkable work by the European
Audiovisual Observatory to its full advantage.

Jérôme Paillard
Executive Director

Introduction

Monde

États-Unis

Canada

Amérique latine

Australie

Europe

Union européenne

Allemagne

Espagne

France

Italie

Royaume-Uni

Benelux – Suisse – Autriche

Pays nordiques

Europe centrale et orientale

Fédération de Russie

Asie

Chine – Inde

Japon

Corée du Sud

Afrique – Moyen-Orient

Sources

Introduction 4

World 7

USA 1

Canada

Latin America 1

Australia

Europe

European Union

Germany

Spain

France

Italy

United Kingdom

Benelux – Switzerland – Austria

Nordic countries

Central and South-Eastern Europe

Russian Federation

Asia 4

China – India

Japan

South Korea

Africa – Middle East

Sources

Sommaire
Contents

focus 2005

La patrie d’Alexandre

Si l’on en croit Le Roman d’Alexandre, un texte
attribué au Pseudo-Callisthène et qui fut, durant
le Moyen-Age, aussi diffusé en Europe que la Bible,
Alexandre le Grand n’était pas le fils du roi Phi-
lippe de Macédoine mais bien du dernier pha-
raon, Nectanebo. Un tel récit visait évidemment
à établir une légitimité de filiation entre deux
empires.

Il en va aujourd’hui de la nationalité des films
comme jadis de la généalogie des souverains : un
tel sujet juridico-statistique fait l’objet d’âpres
débats stratégiques, autour desquels se nouent
des enjeux de politique industrielle, d’argent et
de rayonnement culturel. Le statisticien, observa-
teur du marché, se trouve parfois perplexe face à
de telles querelles. Ainsi, quelle nationalité affecter
au film Alexander d’Oliver Stone ? Ce film, tourné
en Thaïlande et au Maroc, a été lancé à l’initia-
tive de la Warner. Son montage financier a été
complété par des apports financiers européens,
japonais et coréens, sous forme de pré-ventes,
organisées par la filiale britannique d’un groupe
allemand. Une partie du casting est européenne
(dont un Alexandre parlant avec l’accent irlan-
dais !) et la post-production a été réalisée en
France, le tout permettant de qualifier le film
comme européen au regard de la Convention du
Conseil de l’Europe sur les coproductions. Ou
encore quelle est la nationalité statistique d’Alexan-
drie…New York de Youssef Chahine, une des der-
nières productions du regretté Humbert Balsan,
film dont le thème, universel, est bien celui de la
dialectique de l’enracinement et du déracinement
qu’implique la confrontation avec Hollywood ?

L’année 2004 a vu la multiplication des cas de
co-financements internationaux ou de tournages
offshore par les majors hollywoodiennes. Le phé-
nomène n’est pas nouveau, mais il a pris une
ampleur inédite, susceptible d’ébranler les poli-
tiques cinématographiques européennes, et en
tout cas les statistiques nationales. Les contradic-
tions deviennent de plus en plus flagrantes. Ainsi,
Alexander est britannique dans les statistiques alle-
mandes, britanniques et espagnoles mais améri-
cain dans celles de la presse professionnelle
française, alors que le CNC devrait logiquement le
comptabiliser comme GB / FR / NL.

Alexander’s nationality

If you believe the Alexander Romance, a text
attributed to Pseudo-Callisthenes which, during
the Middle Ages, was as widely distributed in
Europe as the Bible, Alexander the Great was
not the son of King Philip of Macedonia but of
the last Pharoah, Nectanebo. Clearly, the author
wished to establish a legitimate family connec-
tion between two empires.

These days, the same applies to the nation-
ality of films as it did in times past to the
genealogy of kings: this legal/statistical theme
is the subject of fierce strategic debate, involving
issues of industrial policy, money and cultural
promotion. Statisticians who observe the film
market are sometimes perplexed by all the argu-
ments. For example, what nationality should be
given to the Oliver Stone film Alexander, which
was shot in Thailand and Morocco at Warner’s
initiative? It was partly financed thanks to Euro-
pean, Japanese and Korean pre-sales organised
by the British subsidiary of a German group.
Some of the cast are European (including
Alexander, who speaks with an Irish accent!) and
the post-production phase took place in France.
All of this means that the film is considered Euro-
pean under the Council of Europe Convention on
coproductions. And what about the nationality
of Youssef Chahine’s Alexandria…New York, one
of the last productions of the late lamented Hum-
bert Balsan, a film whose universal theme is that
of the dialectic of the rooting and uprooting
necessitated by the confrontation with Holly-
wood?

In 2004, many films were internationally co-
financed or filmed offshore by the Hollywood
majors. This is not a new phenomenon, but it
is more common than ever before and likely to
undermine European film-making policies and
certainly national statistics. The contradictions
are becoming more and more blatant. For
example, Alexander is British according to the
German, British and Spanish statistics, but Amer-
ican according to those of the French film press,
while under CNC rules it should count as a
British, French and Dutch co-production.

In order to avoid inconsistencies in its Euro-
pean statistics, the European Audiovisual Obser-

Introduction | Introduction

En vue d’éviter des incohérences dans l’éta-
blissement de ses statistiques européennes, l’Ob-
servatoire européen de l’audiovisuel, depuis près
de dix ans, a choisi d’affecter à chaque film une
nationalité unique, basée, en principe sur la source
principale d’investissement. Cette approche
conduit parfois à des chiffres différents de ceux
élaborés par les sources nationales, mais devient
particulièrement délicate dans le cas des copro-
ductions transatlantiques. Dans l’élaboration des
chiffres 2004, pour une douzaine de films au
moins, nous avons rencontré des difficultés quant
à l’identification de la nationalité du principal
investisseur.

L’impact de nos choix n’est pas sans incidences
sur l’analyse des tendances du marché. En Europe,
les films d’initiative américaine avec apports euro-
péens significatifs (Troy, King Arthur,…) ou les films
qualifiés de « inward investment » dans les statis-
tiques britanniques (tels les Harry Potter) ont repré-
senté

,7 % des entrées en 2004, contre 8,1 %
en 2003. Aux Etats-Unis, la part de marché de ces
mêmes films est passée de 6,3 % en 2003 à 9,8 %
en 2004. A ces films, il faut ajouter le succès des
films que nous comptabilisons comme européens
même s’ils comportent une part significative de
financement américain (Bridget Jones: The Edge of
Reason, Alexander, Cold Mountain, Love Actually,
Calendar Girls, Mindhunters, Un long dimanche de
fiançailles,…). Ces films ont réalisé en 2004 5,6
% des entrées dans l’Union européenne et 2,9 %
des entrées aux Etats-Unis.

Les choix effectués par l’Observatoire euro-
péen de l’audiovisuel reposent sur des distinc-
tions, souvent ténues, qui apparaissent dans les
systèmes nationaux de qualification. L’absence
d’harmonisation européenne sur ces questions –
et, il faut bien le dire, une certaine opacité concer-
nant les paramètres financiers – entraîne des choix
délicats, et, nous en convenons, qui peuvent être
discutés : pourquoi considérer Un long dimanche
de fiançailles comme français mais les Harry Potter
comme américains plutôt que britanniques ? L’Ob-
servatoire, en collaboration avec le réseau des
chercheurs et statisticiens des agences nationales
de soutien au cinéma (EFARN), a entrepris une
réflexion sur ce sujet, mais l’élaboration de cri-
tères communs dans l’élaboration statistique reste
un travail de longue haleine.

La question d’une définition européenne de la

Introduction | Introduction
5

vatory has, for nearly ten years now, given every
film a single nationality based, in principle, on the
primary source of investment. This approach
sometimes leads to different figures from those
drawn up by national sources, but becomes
especially difficult in the case of transatlantic
coproductions. While preparing the figures for
2004, we had problems identifying the nation-
ality of the main investor for at least a dozen
films.

These decisions have an impact on the analy-
sis of market trends. In Europe, American-
launched films benefiting from significant
European funding (Troy, King Arthur, etc.) or
films categorised as “inward investment” in British
statistics (such as the Harry Potter films) accounted
for 11.7% of admissions in 2004, compared to
8.1% in 2003. In the United States, the market
share of these films rose from 6.3% in 2003 to
9.8% in 2004. In addition, we should mention
the films that we count as European even though
they are heavily funded from America (Bridget
Jones: The Edge of Reason, Alexander, Cold Moun-
tain, Love Actually, Calendar Girls, Mindhunters,
Un long dimanche de fiançailles, etc.). In 2004,
these films accounted for 5.6% of admissions in
the European Union and 2.9% in the USA.

The decisions taken by the European Audio-
visual Observatory are based on distinctions,
which are often subtle, that appear in national
categorisation systems. The lack of European
harmonisation of these issues – and, it has to be
said, a certain lack of transparency concerning
financial parameters – results in some difficult
decisions which, we admit, are open to ques-
tion: for example, why do we consider Un long
dimanche de fiançailles to be French but the Harry
Potter films American rather than British? The
Observatory, in collaboration with the network
of researchers and statisticians of the national
film support agencies (EFARN), is looking closely
at this issue, but drawing up common criteria
for the preparation of statistics remains a long-
term job.

The issue of a European definition of nation-
ality is neither purely rhetorical nor statistical,
since it is clearly only the forerunner to the ques-
tion of access to film aid systems, whether
national or European. The recent decision of the
Paris Administrative Court, which challenged

nationalité n’est pas purement rhétorique ou sta-
tistique, car elle n’est évidemment que le prélude
à la question de la qualification pour l’accès aux
systèmes de soutien, qu’ils soient nationaux ou
européens. Le jugement récent du Tribunal admi-
nistratif de Paris qui a remis en cause le soutien
du CNC aux films produits par une filiale française
de la Warner, et en particulier le désormais emblé-
matique Long dimanche de fiançailles, ne fait qu’ou-
vrir un dossier dont les implications sont multiples,
non seulement pour le système français mais éga-
lement pour les systèmes d’aide européens, qu’ils
soient directs ou indirects.

L’utilisation des statistiques dans l’évaluation
des systèmes de soutien, nationaux ou européens,
devient elle-même de plus en plus problématique.
Peut-on en effet exclure certains films de l’accès
aux soutiens mais les inclure dans des statistiques
qui, dans le meilleur des cas, seront utilisées pour
célébrer le dynamisme d’une industrie et l’effica-
cité d’une politique ?

Un autre sujet d’insatisfaction liée aux règles
d’imputation de nationalité réside dans les limites
de nos élaborations statistiques pour l’évaluation
de la diversité culturelle d’un marché donné. Les
statistiques valorisent en effet la nationalité de la
production, non celle du réalisateur et, par consé-
quent, de la diversité des univers et des esthé-
tiques. En conséquence, des films tels que Zivot
je cudo d’Emir Kusturica, Viva Laldjérie de Nadir
Moknèche, Salvador Allende de Patricio Guzmán,
Vodka Lemon de Hiner Saleem, Le temps du loup de
Michael Haneke ou encore Alexandrie…New York
sont, dans nos statistiques, considérés comme
français, ce qu’ils sont par les caractéristiques de
production mais non par l’expression culturelle.
Or bien évidemment ce type de films, malgré leurs
résultats modestes en terme d’entrées, participent
de manière significative à la diversité culturelle du
marché.

En conclusion, plus que jamais, nous plaidons
la prudence dans l’utilisation des chiffres. Aristote,
le précepteur d’Alexandre, se plaignait déjà dans
sa Métaphysique de ce que « les mathématiques
sont devenues, pour les philosophes d’à présent,
toute la philosophie, bien qu’on dise qu’on ne devrait
les cultiver qu’en vue du reste ».

André Lange
Responsable du Département ” Informations
sur les marchés et les financements “,
Observatoire européen de l’audiovisuel

CNC support for films produced by a French
subsidiary of Warner, particularly the symbolic
Un long dimanche de fiançailles, has opened up
a can of worms with numerous implications, not
just for the French system but also for European
direct and indirect aid schemes.

The use of statistics in the evaluation of
national and European aid systems is itself
becoming increasingly problematic. Can certain
films be denied access to aid but included in
statistics which, in the most successful cases, will
be used to celebrate an industry’s dynamism
and a policy’s effectiveness?

Another source of dissatisfaction linked to
the rules governing nationality lies in the limit-
ed usefulness of our statistics in the evaluation of
the cultural diversity of a given market. The statis-
tics highlight the nationality of the production
rather than that of the director and therefore
the diversity of worlds and aesthetics. Conse-
quently, films such as Emir Kusturica’s Zivot je
cudo, Nadir Moknèche’s Viva Laldjérie, Patricio
Guzmán’s Salvador Allende, Hiner Saleem’s Vodka
Lemon, Michael Haneke’s Le temps du loup or
even Alexandria…New York are considered French
in our statistics on account of their production
rather than cultural expression. Quite clearly,
despite their modest results in terms of admis-
sions, films of this type play a significant role in
the cultural diversity of the market.

In conclusion, more than ever before, we ask
that these figures be used with caution. Aris-
totle, Alexander’s tutor, complained in his Meta-
physics that “mathematics has become identical
with philosophy for modern thinkers, even though
it is said that it should only be studied for the sake
of other things”.

André Lange
Head of Department, Markets
and Financing Information,
European Audiovisual Observatory

Introduction | Introduction
6

Monde | World

Source: OBS

800

600

400

200

9 4 9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4

(prov.)

289 278 2

249 2

282 281 293 2

420
461

442 458 462 449 4

566
557 561

600 594
628 6

678

610 6

669

608
661

718 7

750

EUR 25

est.

EUR 15 est.
US
JP

Nombre de films de long métrage produits
en Europe, aux Etats-Unis et au Japon | 1994-2004
Number of feature films produced
in Europe, the United States and Japan | 1994-2004

Source: OBS
0
70

50
40
30
20
10

9 4 9 5

9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4 (prov.)

34,3
36,4

,4 52,7 51,5
54,8

58,8
63,8 63,6

17,0

9,0
6,27,06,8 7,05,4

8,1 8,98,3

5,64,7 4,8

1,8 1,7 2,2 2,0 1,7 1,9 2,0 2,9 2,6
4,8 4,2 4,3 3,9

4,2 5,2
6,6

US (Majors only)
United Kingdom
France
Italy

Coût moyen de production des films | 1994-2004
Average cost of production of feature films | 1994-2004

Millions USD. | USD million.

Monde | World
Source: OBS
0

1 200

1 600

1 400

1 800

1 000

800
600
400
200

9 2 9 4 9 6 9 8 0 0 0 2 0 4

1 173
1

244

720

587

126 131 123 127 120 141 153 145 135 1

161 162

170

3 216 224 2

255 265 270
304 31

300

410
665 677 6

708
766

828 810 8

931 936 889 934763

884 870 8

996 1 000 950
1 005

1 2

1 263

1 3

1 481

1 465

1 421

1 487

1 639

1 574
1 536

US
EUR 25 est.
EUR 15 est.
Amérique Latine
South America
JP

Fréquentation des salles de cinéma | 1992-2004
Admissions | 1992-2004

En millions. | In millions.

Source: OBS

150

130

140

110

100

120

9 1 9 3 9 5 9 7 9 9 0 30 1

107

100

109

122

109

107 107

120

140

134

104

106

143

145
1

105

103

106

EUR

US
JP

1990
EUR 15: 5,14 USD
US: 4,22 USD
JP: 8,16 USD

2003

EUR 15: 6,7 USD
US: 6,0 USD
JP: 10,4 USD

Evolution du prix moyen du billet (Base 100 en 1990,
calculé en monnaie nationale) | 1990-2004
Evolution of the average ticket price (Base 100 in 1990,
calculated in national currency) | 1990-2004

Monde | World
Source: OBS
0

30 000

5 000

40 000

25 000

20 000

15 000

10 000

5 000
9 2 9 4 9 6 9 8 0 0 0 2 0 4

36 594
35 280

37 396
34 1

29 690

26 586
25 105

22 048 21 516
22 3

24 760
26 814

28 550

25 592

2 8252 6352 5241 9931 8281 7581 744

23 952
21 800

19 451
18 01317 678

US
EUR 25 est.
EUR 15 est.
JP

Nombre de salles de cinéma | 1991-2004
Number of screens | 1991-2004

Les films ayant réalisé les meilleures
recettes dans le monde | 2004
World box office Top 20 | 2004

Millions USD. | USD million.

Titre original Pays Recettes Recettes

Total

d’origine brutes US brutes hors US

Original title Country US Box Office International Total
of origin Box Office

1 Shrek 2 (1) US 437 466 903
2 Harry Potter and the Prisoner of Azkaban US/GB 249 540 789
3 Spider-Man 2 US 373 410 783
4 The Passion of Christ US 370 239

609

5 The Day After Tomorrow US 187 353 540
6 Lord of the Rings: Return of the King (2) US/NZ/DE 87 430 5

7 The Incredibles (1) US 252 263 515
8 Troy US/GB/MT 133 364 4

9 I, Robot US 145 201 346

10 The Last Samurai (2) US/NZ/JP 21 298 3

11 Shark Tale (1) US 161 155 316
12 Van Helsing US/CZ 120 182 302
13 The Bourne Supremacy (1) US/DE 176 100 276
14 The Village US 114 142 256
15 The Polar Express (1) US 155 97 252
16 Bridget Jones: The Edge of Reason (1) GB/US/FR/DE/IE 40 188 2

17 Fahrenheit 9/11 US 119 102 221
18 National Treasure (1) US 155 64 219
19 Collateral US 100 117 217
20 King Arthur US/GB/IE 52 149

201

(1) Toujours en distribution en 2005. | Still on release in 2005.
(2) En distribution depuis 2003, recettes 2004 uniquement. | 2003 release, box office 2004 only. Source: Variety

Etats-Unis | United States

Habitants 2003 (millions) 294 Inhabitants 2003 (millions)
PIB 2003 (milliards USD) 11 004 GDP 2002 (USD billions)
1 USD (avril 2005) 0,77 EUR 1USD (April 2005)
Entrées 2004 (millions) 1 536 Admissions 2004 (millions)
Entrées moyennes/hab. 2004 5,2 Average admissions/inhab. 2004
Prix moyen du billet 2004 6,21 USD Average ticket price 2004
Ecrans 2004 36 594 Screens 2004
– Intérieur 35 993 (98,4%) – Indoor
– Ciné-parcs 601 (1,6%) – Drive-in

EUR
EUR

4,7%

Rest of
the world
Reste du

monde
2,0%

US | US
8

3,5%

Coprods US-EUR
US-EUR Co-prods

9,8%

Parts de marché B.O. 2004
Market shares B.O. 2004 est.

Source: MPAA

1 100

1 200
1 300
1 400

500

700

1 600

6 000

7 000

10 000

9 000

8 000

5 000

4 000

3 000

2 000

1 000

5 396 5 494
5 912

6 366

7 448
6 9

7 661

8 4

9 520

9 489 9 539

1 292
1 263

339

1 388

1 481
1 465

1 421
1 487
1 639
1 574
1 536

9 4 9 5

9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4

Entrées (Millions)
Admissions (Million)
Recettes brutes (Millions USD)
Box office (USD million)

Entrées et recettes brutes des salles | 1994-2004
Admissions and gross box office | 1994-2004

Nombre de films en production et de
nouveaux films distribués aux Etats-Unis | 1994-2004
Number of films produced and new releases
in the United States | 1994-2004

Source: MPAA
0
600
800
1 000
400

200
166

212 215
219 221 213 191 188

220 194

244

205

242 269 2

267 274

229
265 276

410
370

420
461 490 442 458 462 449 459

475

635
697

713
673

767

661 677

762 739

940
8

631

758

683

543

593 611

686
735

9 4

9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4

786

Nombre de visas
Rated
En production
In production
Total films distribués
Total new releases
Distribués par les indépendants
Released by independents
Distribués par les Majors
Released by Majors

Etats-Unis | United States

Production et distribution

Le nombre de films en première distribution aux Etats-
Unis a progressé de 16 titres en 2004, avec un total de
475 films (contre 459 films en 2003). Les majors ont dis-
tribué un peu plus de titres en 2004 (199) qu’en 2003
(194), tandis que la distribution de plus de la moitié des
titres a été assurée par des indépendants.

Les coûts moyens de production et de commerciali-
sation ont reculé de 4,8 % en 2004 pour les studios
membres de la MPAA, et atteignent un total de 98 mil-
lions USD par film. Cela est principalement dû à une
réduction de 12 % des coûts de commercialisation natio-
naux alors que les coûts de production sont restés stables
à 63,6 millions USD par film (63,8 millions USD en 2003).
Le coût des films produits et commercialisés par des filiales
et affiliés des majors est nettement retombé à 39,6 mil-
lions USD, dont 28,2 millions USD (46,9 millions en 2003)
pour les coûts de production et 11,4 millions pour les
coûts de commercialisation (14,7 millions en 2003).

Les recettes salles à l’international des membres de
la MPAA ont atteint 15,7 milliards USD, soit une aug-
mentation de 45 % par rapport à 2003 (10,8 milliards
USD). Le total mondial s’élève à 25,2 milliards USD, soit
24 % de plus que l’année passée. Le nombre d’entrées a
également augmenté pour atteindre un total de 9,6 mil-
liards de billets vendus dans le monde entier (8,6 mil-
liards en 2003), cette croissance étant principalement
due aux marchés internationaux (+13 %).

En parts de marché, Sony Pictures a été le principal dis-
tributeur sur le marché national en 2004, avec 14,2 %
des recettes totales, principalement grâce au succès de
Spider-Man 2. Le numéro un de l’année dernière, Buena
Vista, a chuté à la troisième place avec une part de 12,6 %,
malgré le succès de The Incredibles et National Treasure.
Warner Brothers est classé deuxième, grâce à la dernière
aventure de Harry Potter, avec une part de marché de
13,2 %. Sony, Warner et Buena Vista ont réalisé des
recettes supérieures à 1 milliard USD sur le marché
national en 2004, alors que quatre distributeurs avaient
dépassé ce seuil en 2003.

Exploitation

Les salles américaines ont réalisé un total de 1,54 mil-
liard d’entrées en 2004, soit une diminution de 2,4 % par
rapport au 1,57 milliard d’entrées en 2003. Comme en
2003, l’augmentation du prix du billet a amorti l’effet sur
les recettes, qui s’élèvent à 9,54 milliards USD, petite aug-
mentation par rapport à 2003 (+0,5 %). Le prix moyen
du billet a augmenté de 3,0 %, passant de 6,03 USD par
billet en 2003 à 6,21 USD par billet en 2004.

Au total, 36 594 écrans étaient exploités en 2004, soit
une augmentation de 2,3 % par rapport à 2003. La pro-
gression est entièrement due aux salles, le nombre
d’écrans de drive-in ayant régressé de 647 en 2003 à 601
en 2004.

Sources : Nielsen EDI, MPAA, Variety

Production and distribution

The number of films on first release in the United
States increased by 16 titles in 2004 to 475 films
(459 films in 2003). MPAA companies distributed
slightly more titles in 2004 (199) than in 2003 (194),
while more than half of 2004 titles were distributed
by independents.

Average negative and marketing costs fell back
by 4.8% in 2004 for MPAA member companies,
reaching a total of 98.0 million USD per film. This
decrease is principally accounted for by a 12% drop
in domestic marketing costs whilst the cost of produc-
tion remained stable at 63.6 million USD per film
(63.8 million USD in 2003). Costs for films produced
and marketed by subsidiaries and affiliated studios
fell back sharply to 39.6 million USD, of which
28.2 million USD (46.9 million in 2003) represents
negative cost and 11.4 million marketing expendi-
ture (14.7 million in 2003).

International box office for MPAA members reached
15.7 billion USD, a 45% increase on the 2003 total
of 10.8 billion USD. The worldwide total reached
25.2 billion USD, up 24% in relation to the preced-
ing year. Cinema attendance also moved ahead,
reaching a total of 9.6 billion tickets sold world-
wide (8.6 billion in 2003), with growth coming prin-
cipally from international markets (+13%).

Sony Pictures was the distributor earning top
market share on the domestic market in 2004, obtain-
ing 14.2% of total receipts principally due to the
success of Spider-Man 2. Last year’s leader, Buena
Vista, dropped back to third place with a share of
12.6%, despite the success of The Incredibles and
National Treasure. Warner Brothers came in second,
thanks to Harry Potter’s latest adventure, obtaining
a domestic market share of 13.2%. Sony, Warner
and Buena Vista all earned revenues of more than
1 billion USD at the domestic box office in 2004,
whereas four distributors had passed this mile-
stone in 2003.

Exhibition

Total admissions to cinemas in the US in 2004
were 1.54 billion, a 2.4% fall on the 1.57 billion tick-
ets sold in 2003. As in 2003, rising ticket prices cush-
ioned the effect on revenue, with total box office
receipts reported as 9.54 billion USD, a small increase
in relation to 2003 (+0.5%). Average ticket prices
moved ahead by 3.0%, going from 6.03 USD per
ticket in 2003 to 6.21 USD per ticket in 2004.

A total of 36,594 screens were in operation in
2004, a 2.3% increase on the figure reported for
2003. The net gain came entirely from indoor screens,
with the number of drive-in screens falling from 647
in 2003 to 601 in 2004.

Sources: Nielsen EDI, MPAA, Variety

Source: Variety / Nielsen EDI

0
1 000
1 200
1 800
1 400
1 600
800
600
400
200
9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4

296

159

201

310

104

448 417 364

199

1 271

749
652 667

729

1 570

1 210
1 308

1 202

891

1 103

1 263
1 100

886

1 190

1 520

1 1

902

680
750

1 061

892

1 230

160

1 215

Etats-Unis | United States

Recettes salles des distributeurs
sur le marché nord-américain | 1996-2004
Distributors’ box office revenues
on the North American market | 1996-2004

Millions USD. | USD million.

Source: MPA / Informa Media

0
5
10

30
15
20

2000 2001 200420032002

25,2

8,53

5,46

9,49

20,3

5,58

9,52

9,8

3,79

8,41

17,0

4,09

3,14

7,66

15,9

4,02

3,06

Ventilation des recettes brutes mondiales
des principaux distributeurs US | 2000-2004
Breakdown of worldwide box office revenues
of major US distribution companies | 2000-2004

Milliards USD. | USD billion.

Sony/Columbia
Warner Bros.
Buena Vista
Universal
Fox
DreamWorks
Paramount
New Line
Miramax
MGM

USA
Europe-Middle East-Africa
Asia-Pacific
Latin America
Canada

Etats-Unis | United States
Source: MPAA
0
60
80
100
120
40
20

8 4 8 6 8 8

9 0 9 2 9 4 9 6 9 8 0 0 0 2 0 4

34,4
30,6

27,3

25,3

19,8

16,113,512,0
6,7

21,1
14,4

17,5 18,1
26,8

38,8
42,4

50,4

59,6

78,0
82,1

89,4

98,0

28,9
34,3

39,8

52,7
54,8

58,8
63,6

Evolution des coûts moyens de production et de marketing
des films produits par les majors | 1984-2004
Average negative and marketing costs of films
produced by the major studios | 1984-2004

Millions USD. | USD million.

Total | Total
Coût de production | Negative cost
Frais de distribution | Print & advertising

Les films ayant réalisé les meilleures recettes
en Amérique du Nord | 2004
Top 20 films by Nord American box office | 2004

Recettes brutes Etats-Unis et Canada, en USD. | Gross box office United States and Canada, in USD.

Titre original Pays d’origine Distributeur Recettes brutes
Original title Country of origin Distributor Gross box office

1 Shrek 2 US Dreamworks 436 722 000
2 Spider-Man 2 US Sony 373 378 000
3 The Passion of Christ US Newmarket – Equinox/Icon 370 275 000
4 The Incredibles (1) US Buena Vista/Pixar 251 657 000
5 Harry Potter and the Prisoner of Azkaban US/GB Warner Bros. 249 367 000
6 The Day After Tomorrow US Fox 186 741 000
7 The Bourne Supremacy US/DE Universal 176 088 000
8 Meet the Fockers (1) US Universal/Dreamworks 162 461 000
9 Shark Tale (1) US Dreamworks 160 762 000

10 The Polar Express (1) US Warner Bros. 155 112 000
11 National Treasure (1) US Buena Vista 154 522 000
12 I, Robot US Fox 144 801 000
13 Troy US/GB/MT Warner Bros. 133 259 000
14 50 First Dates US Sony 120 777 000
15 Van Helsing US/CZ Universal 120 073 000
16 Fahrenheit 9/11 US Lions Gate/IFC/Alliance 119 115 000
17 DodgeBall: A True Underdog Story US/DE Fox 114 327 000
18 The Village US Buena Vista 114 198 000
19 The Grudge US/DE/JP Sony/Columbia 110 176 000
20 Ocean’s Twelve (1) US/AU Warner Bros./Village Roadshow 107 006 000
(1) Toujours en distribution en 2005. | Still on release in 2005. Source: Variety

Sources: Statistics Canada/Statistique Canada

60
90
120
400
500
1 100
1 000

900

800
700
600
150

78,8
83,8

400,5
423,9

418,1

93/
94

94/
95

95/
96

96/
97

97/
98

98/
99

99/
00

00/
01

est
01/
02

02/
03

87,5
91,8

99,9

12,8

119,3 119,6

122,7
125,7

440,8

502,7

592,2

654,9 705,7

779,6

853,4

Entrées et recettes brutes des salles | 1993-2003
Admissions and gross box office | 1993-2003

Entrées (Millions)
Admissions (Millions)
Recettes brutes (Millions CAD)
Gross box office (CAD million)

Sources: Statistics Canada/Statistique Canada (1994-1996) & CAVCO (1996-2004)

0
40
50
60
30
20
10

53
42
49
40
58

45
47 47

44
14
21

15
17

19 20 20
23

1994/
1995

1995/
1996

1996/
1997

1997/
1998

1998/
1999

1999/
2000

2000/
2001

2001/
2002

2002/
2003

2003/
2004

(prov.)

Contenu canadien
Canadian content
Coproductions
Co-productions

Nombre de films de long métrage produits au Canada | 1994-2004
Number of feature films produced in Canada | 1994-2004

Canada | Canada

Parts de marché | Market shares 2003

est.

National
National

3,5%

Autres
Others

6,0%

US | US
90,5%

Habitants 2004 (millions) 32,1 Inhabitants 2004 (millions)
PIB 2003 (milliards USD) 867 GDP 2003 (USD billions)
1 CAD (avril 2005) 0,813 USD 1CAD (April 2005)
Entrées 2002/03 (millions) 125,7 Admissions 2002/03 (millions)
Entrées moyenne/hab. 2002/03 4,0 Average admissions/inhab. 2002/03
Prix moyen du billet 2002/03 7,24 CAD (5,17 USD) Average ticket price 2002/03
Ecrans 2002/03 2 974 Screens 2002/03
– Intérieur 2 886 – Indoor
– Ciné-parcs 88 – Drive-in

Canada | Canada
15

Les chiffres publiés au début de l’année par l’Association
canadienne de production de films et de télévision (ACPFT)
montrent que la valeur financière totale du secteur canadien
de la production a atteint 4,92 milliards CAD en 2003/2004,
soit 2,1 % de moins qu’en 2002/2003 (5,03 milliards CAD).
Cette diminution survient après une progression de 4 % lors
de la précédente période. Le total pour 2003/2004 inclut
pratiquement 1,9 milliard CAD provenant des productions
étrangères tournées au Canada, en léger retrait de 1 % par
rapport au total de 2002/2003.

La valeur totale des productions canadiennes à l’export
a diminué de 7 % pour atteindre 2,27 milliards CAD en
2003/2004 et le volume de coproductions a progressé de
18 % à 730 millions CAD. Les producteurs britanniques, fran-
çais et hongkongais ont été les partenaires préférés pour les
coproductions.

Les données fournies par Statistique Canada montrent
que la fréquentation des salles a progressé d’environ 5 %
entre 2000/2001 et 2002/2003 (pas de données collectées
en 2001/2002) pour atteindre un total de 125,7 millions
d’entrées. Cette augmentation a eu lieu malgré la perte de
248 salles sur la même période. Les recettes au guichet ont
également confirmé leur tendance à la hausse, progressant
de 20 % entre les saisons 2000/2001 et 2002/2003.

Sur le marché francophone, le total des entrées est retom-
bé à 28,3 millions, en diminution de 2,4 % par rapport au
total de 2003. Toutefois, ce déclin n’a pas affecté la fré-
quentation des films de production québécoise. Pour la cin-
quième année consécutives, la part de marché des films
francophones produits au Québec a progressé, avec 13,8 %
des entrées enregistrées en 2004.

Sources : ACPTF / Observatoire de la culture et des
communications du Québec / Statistique Canada

Figures published earlier this year by the Cana-
dian Film and Television Producers Association
(CFTPA) show that the total monetary value of the
Canadian production sector reached 4.92 billion
CAD in 2003/2004, an decrease of 2.1% in relation
to 2002/2003 (5.03 billion CAD). This decrease
comes after a 4% increase in the preceding period.
The total for 2003/2004 includes just under 1.9
billion CAD of foreign location production, a small
drop of 1% on the total for 2002/2003.

Total export value of Canadian productions
dipped 7% to 2.27 billion CAD in 2003/2004 while
the value of treaty co-production expanded by
18% to 730 million CAD. British, French and Hong
Kong producers were the preferred co-production
partners.

Data from Statistics Canada shows that admis-
sions to cinemas increased by around 5% between
2000/2001 and 2002/2003 (no data was collected
in 2001/2002) reaching a total of 125.7 million
tickets sold. This increase was despite the loss of
248 screens during the period. Box office receipts
also maintained their upward trend, increasing
20% between the 2000/2001 and 2002/2003 sea-
sons.

On the French-speaking market, overall admis-
sions fell back to 28.3 million, down 2.4% in rela-
tion to the 2003 total. Falling attendance did not,
however, affect audiences for locally produced
films. For the fifth successive year, the market share
of Quebec-produced French-language films grew,
with a share of 13.8% of admissions recorded in
2004.

Sources: CFTPA / Observatoire de la culture et des
communications du Québec / Statistics Canada

Les 20 films ayant réalisé les meilleures
recettes au Québec | 2004
The Top 20 films by box office in Quebec | 2004

Titre original Pays d’origine Année Réalisateur Entrées Québec
Original title Country of origin Year Director Admissions Quebec

1 Spider-Man 2 US 2004 Sam Raimi 1 198 313
2 Shrek 2 US 2004 A. Adamson & K. Asbury 1 120 825
3 Harry Potter / Prisoner Azkaban US / GB 2004 Alfonso Cuarón 981 515
4 Camping sauvage CA (QC) 2004 A. Ducharme & G. Lepage 574 800
5 Lord of the Rings: Return King US / NZ / DE 2003 Peter Jackson 567 005
6 Troy US / GB / MT 2004 Wolfgang Petersen 482 002
7 Dans une galaxie près de chez vous CA (QC) 2004 Claude Desrosiers 454 101
8 50 First Dates US 2004 Peter Segal 441 248
9 The Bourne Supremacy US / DE 2004 Paul Greengrass 437 579

10 The Day After Tomorrow US 2004 Roland Emmerich 437 251
11 Fahrenheit 9/11 US 2004 Michael Moore 421 367
12 The Passion of Christ US 2004 Mel Gibson 411 079
13 The Incredibles US 2004 Brad Bird 354 732
14 I, Robot US 2004 Alex Proyas 348 751
15 Les choristes FR / CH / DE 2004 Christophe Barratier 330

131

16 The Blue Butterfly CA(QC) / GB 2004 Léa Pool 327 389
17 Shark Tale US 2004 Bibo Bergeron & Vicky Jenson 325 287
18 The Butterfly Effect US/CA 2004 E. Bress & J. Mackye Gruber 319 205
19 Elles étaient cinq CA (QC) 2004 Ghyslaine Côté 295 622
20 Elvis Gratton XXX: La vengeance… CA (QC) 2004 Pierre Falardeau 292 327

Source: Observatoire de la culture et des communications du Québec

Amérique latine | Latin America

Argentine Brésil Chili Colombie
Argentina Brazil Chile Colombia

Habitants 2003 (millions) Inhabitants 2003 (millions) 38,4 178,5 15,8 44,2
PIB 2003 (milliards USD) GDP 2003 (USD billions) 130 492 75 79
Ecrans 2003 Screens 2003 1 003 1 997(3) 262 314
Entrées 2004 (millions) Admissions 2004 (millions) 41,4 114,7 11,9(2) 17,5(2)

Entrées/habitant 2004 Admissions/Inhabitant 2004 1,1 0,6 0,8(2) 0,4(2)

Mexique Pérou Uruguay Vénézuela
Mexico Peru Uruguay Venezuela

Habitants 2003 (millions) Inhabitants 2003 (millions) 103,5 27,2 3,4 25,7
PIB 2003 (milliards USD) GDP 2003 (USD billions) 626 61 11 95(1)

Ecrans 2003 Screens 2003 3 197 199 74 349
Entrées 2004 (millions) Admissions 2004 (millions) 164,0 9,8(2) 2,2(2) 10,0(2)

Entrées/habitant 2004 Admissions/Inhabitant 2004 1,6 0,4(2) 0,6(2) 0,4(2)

(1) 2002 (2) 2003 (3) 2004

Argentine

En Argentine, la fréquentation des salles a connu une
hausse spectaculaire de 27 % en 2004, atteignant un total
de 41,1 millions de billets vendus ; ce résultat rappelle les
scores réalisés dans les années 80. Presque 6 millions de
billets ont été vendus pour les films nationaux, qui repré-
sentent une part de marché d’environ 13 %. Le film d’ani-
mation Patoruzito, avec 2,1 millions d’entrées, a été le
film national le plus populaire ; il se place en troisième
position dans le classement général. Plusieurs mesures
gouvernementales visant à promouvoir la production natio-
nale sont entrées en vigueur cette année, notamment le
versement des subventions restant à percevoir et la réduc-
tion de certains droits de douane sur l’importation de
matériel cinématographique.

Brésil

A l’instar de l’Argentine, le Brésil a connu une aug-
mentation de la fréquentation des salles (+11 %) en 2004.
48 films nationaux sont sortis en salles cette année, réa-
lisant une part de marché de 14 %. Cinq films nationaux
ont vendu plus d’un million de billets : tous, sauf un, ont
été distribués par des sociétés affiliées aux majors améri-
caines. Le film ayant engrangé le plus grand succès est
Cazuza – O Tempo Não Pára. La création d’une nouvelle
Agência Nacional de Cinema e Audiovisual, prévue par le
gouvernement, a été retardée eu égard à l’absence de
consensus entre les branches professionnelles et face à
l’opposition de la MPAA.

Mexique

La fréquentation des salles mexicaines a augmenté de
20 % en 2004 après avoir connu une forte baisse en
2003. 164 millions de billets ont été vendus et les recettes
des salles ont augmenté en conséquence pour atteindre
5,42 milliards de pesos (+20 %). En dépit de cet essor
rapide, les films nationaux ont eu du mal à trouver un
public : seuls 18 films mexicains sont sortis en 2004
(contre 25 en 2003) pour un total de moins de 8 millions
de billets vendus.

Sources : Observatorio de Industrias Culturales (AR),
FilmeB (BR), Screen Digest, Variety

Argentina

Admissions to cinemas rose by an impressive 27% in
Argentina in 2004, reaching a total of 41.4 million tickets
sold, a result recalling the scores achieved in the 1980’s.
Almost 6 millions tickets were sold to national films, a market
share of some 13%. Animated film Patoruzito with 2.1 mil-
lion admissions was the most popular local film, at third
place in the overall ranking. A number of government mea-
sures aimed at boosting the national production sector came
into force during the year, including the payment of out-
standing film subsidies and the reduction of certain import
duties on film-making material.

Brazil

Brazil, like Argentina, saw an upturn in admissions (+11%)
in 2004. A total of 48 local films were released during the
year, obtaining a market share of 14%. Five local films sold
more than 1 million tickets: all but one of these titles were
distributed by affiliates of US majors. Most successful of these
was Cazuza – O Tempo Não Pára. Government plans for the
creation of a new Agência Nacional de Cinema e Audiovisual
were delayed amid concerns that no consensus had been
found among representatives of the market segments
involved and in the face of opposition from the MPAA.

Mexico

Attendance at Mexican cinemas rose by 20% in 2004
after a sharp fall in 2003. A total of 164 million tickets were
sold and box office receipts showed a corresponding increase
reaching 5.42 billion pesos (+20%). Despite this rapid growth
local films struggled to find an audience: only 18 Mexican
films were released in 2004 (25 in 2003) for a total of less
than 8 million tickets sold.

Sources: Observatorio de Industrias Culturales (AR),
FilmeB (BR), Screen Digest, Variety

Fréquentation des salles de cinéma
en Amérique latine | 1994-2004
Cinema attendance in Latin America | 1994-2004

En millions. | In millions.
Amérique latine | Latin America
17

Sources: Screen Digest/Variety/FilmeB/INCAA – OIC Buenos Aires/CACI

0
60
120

180

40
100
160
140
80
20

9 4

9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4 (prov.)

28 31
20

28 31

11 1211101077767

69
62

80
95

113
119

129

142
154

164

90 93 96

62 70 70 68
75

91
103

115

Mexico
Brazil
Argentina
Colombia
Chile
Venezuela

Les 20 films nationaux ayant réalisé
le plus d’entrées au Brésil | 2004
The top 20 national films by admissions
in Brazil | 2004

Titre original Pays d’origine Réalisateur Distributeur Entrées
Original title Country of origin Director Distributor Admissions

1 Cazuza – O Tempo Não Pára BR W. Carvalho & S. Werneck Columbia 3 082 522
2 Olga BR Jayme Monjardim Lumière 3 076 297
3 Sexo, Amor e Traição BR / MX Jorge Fernando Fox 2 219 423
4 Xuxa Abracadabra BR Moacyr Góes Warner 2 214 481
5 A Dona da História BR Daniel Filho Buena Vista 1 271 415
6 Didi Quer Ser Criança BR A. & R. Boury Colombia 982

175

7 Irmãos de Fé BR Moacyr Góes Columbia 966 021
8 Acquaria BR Flavia Moraes Fox 837 695
9 Cinegibi, o Filme – Turma da Mônica BR José Márcio Nicolosi UIP 305 752

10 Pelé Eterno BR Anibal Massaini Neto UIP 257 932
11 Redentor BR Cláudio Torres Warner 218 829
12 Viva Voz BR Paulo Morelli Buena Vista 206 568
13 Um Show de Verão BR Moacyr Góes Warner 137 507
14 Benjamim BR Monique Gardenberg Europa/MAM 98 301
15 O Outro Lado da Rua BR Marcos Bernstein Columbia 92 165
16 Narradores de Javé BR / FR Eliane Caffé Lumière 67 004
17 Como fazer um filme de amor BR José Roberto Torero Lumière 53 519
18 Onde Anda Você BR Sergio Rezende UIP 50 958
19 A Cartomante BR P. Urange & W. de Assis Imovision 36 094
20 O Vestido BR Paolo Thiago Colombia 30 683

Source: FilmeB / OBS

Australie | Australia

Habitants 2004 (millions) 20,29 Inhabitants 2004 (millions)
PIB 2003 (milliards USD) 508 GDP 2003 (USD billions)
1 AUD (mars 2005) 0,70 USD 1AUD (March 2005)
Entrées 2004 (millions) 91,5 Admissions 2004 (millions)
Entrées moyenne/hab. 4,51 Average admissions/inhab.
Prix moyen du billet 9,92 AUD (7,87 USD) Average ticket price
Ecrans 2004 1 909 Screens 2004

National
National

1,3%
Autres | Others

7,7%
US | US
85,9%GB | GB5,1%

Parts de marché | Market shares 2004

Sources: MPDAA/AFC

30
40
50
60
70
80
0

1 000
900

800
700

600
500
400
300
200
100
100
90

9 4 9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4

68,1
69,9

73,9
76,0

80,0

88,0
82,2

92,5 92,5

89,8 91,5

476,4 501,4
536,8

583,9
629,3

704,1 689,5

12,4

844,8

865,8
907,2

Entrées (Millions)
Admissions (Millions)
Recettes brutes (Millions AUD)
Gross box office (AUD million)

Entrées et recettes brutes des salles | 1994-2004
Admissions and gross box office | 1994-2004

Source: AFC

0
20
40
50
30
10

1993/
1994

1995/
1996

1997/
1998

1999/
2000

2001/
2002

2003/
2004

30
28
2

0 0 0
2 2 21 1 1 1

3
2 2 2

5 5
7 7

5
3 4

14
23
29
34

22
24

15 15

17
28
33
38
33

29 30
33

22 23

Total | Total
100 % national
100% national
Films étrangers | Foreign films
Coproductions officielles
Official co-productions

Nombre de films de long métrage produits en Australie | 1993-2004
Number of feature films produced in Australia | 1993-2004

Australie | Australia

En Australie, les recettes au guichet se sont élevées
au total à 907,2 millions AUD en 2004, record histo-
rique et progression de pratiquement 5 % par rapport
à 2003. L’augmentation du prix du billet est en partie res-
ponsable de cette croissance, car la fréquentation des
salles a enregistré une hausse d’à peine 2 %, pour
atteindre 91,5 millions d’entrées.

La tendance à la baisse du volume de production
de films de long métrage australiens s’est confirmée en
2004 : nous sommes passés d’une moyenne de 28 films
produits chaque année dans la seconde moitié des
années 90 à 15 films en 2003/2004. Il s’ensuit une dimi-
nution du nombre de nouveaux titres australiens sortis :
de 23 en 2003 à 16 nouveaux titres en 2004. Le budget
moyen de ces longs métrages de fiction a été de 4,75
millions AUD, soit 6,4 million AUD de moins qu’en 2003.
Toutefois, les dépenses des productions étrangères tour-
nées sur le sol australien ont nettement augmenté, avec
un total de 7 productions étrangères investissant 249
millions AUD en 2004, soit une augmentation de 47 %
par rapport au total de 2003 (5 productions étrangères
dépensant 169 millions AUD).

En 2004, les titres américains ont dominé le marché,
à la fois pour le nombre de nouveaux titres sortis (200
soit environ les deux tiers de tous les films sortis) et pour
la part de marché (85,9 %). La part de marché des
recettes réalisées par les films australiens a été de 1,3 %
en 2004, plus faible niveau enregistré. Le film national
ayant remporté le plus grand succès en 2004 a été la
comédie Strange Bedfellows, avec 4,8 millions AUD, plus
que le double des recettes du deuxième au classement,
Somersault (2 millions AUD).

Source: AFC

Total box office receipts in Australia reached 907.2
million AUD in 2004, the highest ever total recorded
and an increase of just under 5% in relation to 2003.
Higher ticket prices were in part responsible for growth,
as cinema attendances registered an increase of just
2%, to reach 91.5 million.

A downward trend in the number of local features
produced persisted into 2004, dropping from an
average of 28 features produced per year in the second
half of the 1990s to 15 films in 2003/2004. A conse-
quence is the declining number of new Australian titles
on release: from 23 in 2003 to just 16 new titles in
2004. The average budget for the fiction features
among these releases was 4.75 million AUD, down
from 6.4 million AUD in 2003. Spending by foreign
productions shooting on Australian soil increased sig-
nificantly however, with a total of 7 foreign produc-
tions investing 249 million AUD in 2004, a 47% increase
on the total for 2003 (5 foreign productions spending
169 million AUD).

US titles dominated the market in 2004, both in
terms of the number of new titles released (200 or
around two-thirds of all titles on release) and in terms
of market share (85.9%). Australian films earned a box
office market share of 1.3% in 2004, the lowest market
share since reporting began. The most successful local
film of 2004 was the comedy Strange Bedfellows, with
earnings of 4.8 million AUD, more than double the
receipts of the next most popular title, the award-win-
ning Somersault (2.0 million AUD).

Source: AFC

Les 20 films ayant réalisé les meilleures recettes en Australie | 2004
Top 20 films by gross box office in Australia | 2004

Titre original Pays d’origine Distributeur Recettes brutes (en AUD)
Original title Country of origin Distributor Gross Box Office (in AUD)

1 Shrek 2 US UIP 50 345 252
2 Lord of the Rings: Return of the King US/NZ/DE Roadshow 49 369 294
3 Harry Potter and the Prisoner of Azkaban US/GB Warner Bros. 33 135 758
4 Meet the Fockers US UIP 27 463 947
5 Spider-Man 2 US CTS 24 394 233
6 Troy US/GB/MT Warner Bros. 23 703 158
7 The Incredibles US BVI 23 440 811
8 The Day After Tomorrow US Fox 20 229 116
9 Love Actually GB/US UIP 18 726 738

10 Bridget Jones: The Edge of Reason GB/US/FR/DE/IE UIP 18 241 435
11 The Bourne Supremacy US/DE UIP 15 809 781
12 Something’s Gotta Give US Warner Bros. 15 680 501
13 Shark Tale US UIP 15 318 923
14 The Passion of Christ US Icon 15 183 802
15 Ocean’s Twelve US/AU Roadshow 15 150 422
16 50 First Dates US CTS 14 765 016
17 Spy Kids 3D: Game Over US BVI 13 626 969
18 Starsky & Hutch US BVI 13 453 647
19 I, Robot US Fox 13 222 481
20 Van Helsing US/CZ UIP 12 810 472

Source: MPDAA

Union européenne | European Union

EUR 25 habitants 2003 (millions) 453 EUR 25 Inhabitants 2003 (millions)
EUR 25 PIB 2003 (milliards USD) 11 023 EUR 25 GDP 2003 (USD billions)
1 USD (avril 2005) 0,77 EUR 1USD (April 2005)
EUR 25 entrées 2004 (millions) 1 005 est EUR 25 admissions 2004 (millions)
EUR 25 entrées moyennes/hab. 2004 2,22 EUR 25 average admissions/inhab 2004.
EUR 25 prix moy. du billet 2003 5,71 EUR (6,45 USD) EUR 25 average ticket price 2003
EUR 25 écrans 2003 28 970 est EUR 25 screens 2003
EUR 25 écrans dans multiplexes 9 887 est EUR 25 screens in multiplexes
(31/10/2004) (31/10/2004)

Films européens
European films

26,5%

US | US
71,4%

Autres
Others
2,1%

Parts de marché | Market shares 2004
EUR 25 est (prov.)

Le volume de production de l’Union euro-
péenne enregistre une légère croissance

D’après les données disponibles, l’Observatoire euro-
péen de l’audiovisuel estime que 764 films ont été produits
dans les 25 pays membres de l’Union européenne en 2004 ;
un résultat qui représente une augmentation de 2 % du
volume de production par rapport à 2003 (750 films). Le
volume de production a régressé en France et au Royaume-
Uni alors qu’il est resté stable en Italie. L’Allemagne et l’Es-
pagne ont, tous deux, enregistré une croissance du volume
de production, avec 25 films supplémentaires pour l’Es-
pagne en 2004. Les marchés de taille plus modeste tels que
l’Autriche, la Finlande et la Suède ont tous affiché une crois-
sance tandis que la Hongrie et la Pologne présentent des
niveaux de production stables par rapport à l’année pré-
cédente et totalisent respectivement 21 et 17 films.

La fréquentation des salles passe
à nouveau le cap du milliard

En 2004, la fréquentation des salles dans les 25 pays
membres de l’Union européenne a passé le cap du milliard,
pour la deuxième fois depuis 1995, enregistrant une aug-
mentation de 6 % par rapport aux 950 millions de billets
vendus en 2003.

Ce sont principalement les bons résultats affichés par
certains grands marchés qui ont permis d’atteindre le résultat
total de 1,005 milliard de billets vendus, avec une croissance
notable enregistrée en France (+ 12,3 %) et en Italie
(+ 9,5 %). L’Allemagne (+ 5,2 %), l’Espagne (+ 4,7 %) et le
Royaume-Uni (+ 2,4 %) ont contribué plus modestement à
la croissance.

Le marché polonais a augmenté en flèche en 2004, avec
33,4 millions d’entrées en salles, et affiche une croissance
spectaculaire de 40 % par rapport à 2003. On constate une
reprise de la fréquentation des salles en Autriche pour l’année
2004, qui affiche une augmentation de 9,4 % par rapport
au bilan quelque peu décevant de 2003. Concernant les
marchés des pays nordiques et des pays baltes, le Danemark
et la Lettonie ont fait état d’une augmentation des entrées
en salles (+ 4 % et + 45 % respectivement) alors que la fré-
quentation a diminué ailleurs.

D’après les estimations provisoires de l’Observatoire
européen de l’audiovisuel, les parts de marché des films
européens dans les 25 pays membres de l’Union européenne
se sont élevées à 26,5 % en 2004, chiffre proche des 26,8 %
enregistrés en 2003.

Source: OBS

European Union production volume
registers a small increase

On the basis of available data, the European Audio-
visual Observatory estimates that 764 films were pro-
duced in the 25 Member States of the European Union
in 2004, a result that represents growth of 2% in the
volume of production in relation to 2003 (750 films).
Production volumes slipped back in France and the United
Kingdom whilst remaining stable in Italy. Germany and
Spain both registered higher production volumes, with an
additional 25 films completed in Spain in 2004. Among
the smaller markets Austria, Finland and Sweden all
reported increases. Hungary and Poland maintained stable
production output in relation to the preceding year, with
totals of 21 and 17 films respectively.

Admissions pass the 1 billion milestone
once more

Admissions in the 25 Member States of the European
Union in 2004 passed the 1 billion milestone for the
second time since 1995, registering a 6% increase on
the 950 million tickets sold in 2003.

Strong results in some of the major markets were the
principal contributors to the overall total of 1.005 billion,
with a notable growth registered in France (+12.3%) and
in Italy (estimated at + 9.5%). Germany (+5.2%), Spain
(+4.7%) and the United Kingdom (+2.4%) contributed
more modest increases.

The Polish market surged ahead in 2004, registering
33.4 million admissions, an impressive 40% increase on
the total for 2003. Austrian cinema attendance also recov-
ered in 2004, showing growth of 9.4% in relation to a dis-
appointing year in 2003. Among the Nordic and Baltic
markets, Denmark and Latvia reported higher attendance
(+4% and +45% respectively) whereas admissions dipped
elsewhere.

According to provisional estimates from the European
Audiovisual Observatory, market share for European films
in the 25 Member States of the European Union reached
26.5% in 2004, close to the total of 26.8% registered in
2003.

Source: OBS
20

Union européenne | European Union

Nombre de films de long métrage produits dans
l’Union européenne (EUR 15) | 1999-2004
Number of feature films produced in the European Union
(EUR 15) | 1999-2004

En unités. | In units.

Total

Total 100% nat. + maj.

100 % national (1)
Co-productions

100 % national (1)
maj. co-prod.

100 % national
maj. co-prod.

Total

100% national
maj. co-prod.

100 % national
maj. co-prod.
US production

100 % national
maj. co-prod.
Total
100 % national
maj. co-prod.

100% nat. + maj

Total
100 % national
maj. co-prod.
100 % national
maj. co-prod.

Films produced est.

Films produced est.
Total
Total 100% nat. + maj.

100 % nat. (1)
Coproductions

100 % nat. (1)
Copr. maj.

100 % nat.
Copr. maj.

Total
100 % nat.
Copr. maj.

100 % nat.
Copr. maj.
Production US

100 % nat.
Copr. maj.
Total
100 % nat.
Copr. maj.

100 % nat. + maj

Total
100 % nat.
Copr. maj.
100 % nat.
Copr. maj.

Films produits est.

Autriche
Austria

Belgique
Belgium

Allemagne
Germany

Danemark
Denmark

Espagne
Spain

Finlande
Finland

France
France

Royaume-
Uni
United
Kingdom

Grèce
Greece

Irlande
Ireland

Italie
Italy

Luxembourg
Luxemburg

Pays-Bas
Netherlands

Portugal
Portugal

Suède
Sweden

Pays
Country

1999 2000 2001 2002 2003 2004
23 17 12 26 20 24

17 22 12 14 17 18

44 47 57 39 54 60
30 28 26 45

26 27

8 10 7 11 12 14
8 7 12 8 12 5

44 64 67 80 68 92
16 13 19 22 16 17

13 10 12 11 13 18

115 111 126 106 105 130
35 34 46 57 78 37

71 51 52 41 40 28
9 13 12 19 18 19
6 11 3 6 5 10

13 14 15 15 21 15
3 2 3 3 3 3

12 10 8 2 10 11

92 86 68 96 98 96
8 8 22 17 12 15

0 0 0 1 1 2

22 23 28 29 29 24

2 2 4 1 4 8
7 5 10 5 12 7

13 20 16 12 14 22
10 18 9 9 13 14

600 594 628 635 678 689

669 661 718 723 750 764

AT
BE
DE

ES
FI
FR

GR
IE
IT
LU
NL
PT

SE
EUR 15
EUR 25

(1) Les données sont à l’exclusion des documentaires de long métrage (34 DE et 5 DK documentaires étaient en distribution en 2004).
Data excludes feature documentaries (34 DE and 5 DK feature documentaries released in 2004).

Les données en italique sont estimées. | Data in italics are estimated.

| Voir page suivante pour le nombre de films de long métrage produits dans les nouveaux Etats membres de l’UE.
See following page for details of production volume in new Member States of the European Union. Source: OBS

MIF05•booklet 23/05/05 11:08 Page 21

Nombre de films de long métrage produits dans les nouveaux
Etats membres de l’Union européenne (EUR 10) | 1999-2004
Number of feature films produced in new Member States
of the European Union (EUR 10) | 1999-2004

En unités. | In units.
100 % nat.
Copr. maj.
100 % nat.
Copr. maj.
100 % nat.
Copr. maj.
100 % nat.
Copr. maj.

100%nat.
Copr. maj.

100%nat.
Coproductions

Copr. min.

100 % nat.
Copr. maj.

100 % nat.
Coproductions

100 % nat.
Coproductions
Films produced est.
Films produced est.
100 % national
maj. co-prod.
100 % national
maj. co-prod.
100 % national
maj. co-prod.
100 % national
maj. co-prod.
100% national
maj. co-prod.

100% national
Co-productions

min. co-prod.

100 % national
maj. co-prod.

100 % national
Co-productions

100 % national
Co-productions
Films produits est.
Films produits est.

Chypre
Cyprus

République
tchèque
Czech
Republic

Estonie
Estonia

Hongrie
Hungary

Lituanie
Lithuania

Lettonie
Latvia

Malte
Malta

Pologne
Poland

Slovénie
Slovenia

République
slovaque
Slovak
Republic

Pays
Country prov.

1999 2000 2001 2002 2003 2004
0 0 0 0 0 0
1 1 4 2 2 1

13 11 12 18 10 15
3 4 5 1 4 6

0 0 2 1 1 2
0 0 1 1 1 1

15 17 20 19 19 17
2 4 2 5 1 4

0 0 0 1 1 2
0 1 0 0 0 0

1 2 2 0 7 2
2 0 1 1 0 1

0 0 0 0 1 1

21 19 27 27 18 17
2 0 1 0 1 0

4 5 8 9 2 4
0 0 1 1 5 1

0 0 2 0 1 1
3 3 2 5 7 1

69 67 90 88 72 74

669 661 718 723 750 764

LV
MT
PL

EUR 10
EUR 25

Les données en italique sont estimées | Data in italics are estimated

Source: OBS
Union européenne | European Union
22

Union européenne | European Union
23

Fréquentation des salles de cinéma
de l’Union européenne | 1999-2004
Admissions in the European Union | 1999-2004

En millions. | In millions.
Pays
Country prov.

1999 2000 2001 2002 2003 2004 2004/03
AT 15,0 16,3 18,8 19,3 17,7 19,4 9,4%
BE 21,9 23,5 24,0 24,4 22,7 23,0 1,4%
CY 0,8 0,9 0,9 0,9 1,0 ~ –
CZ 8,4 8,7 10,4 10,7 12,1 12,0 -0,8%
DE 149,0 152,5 177,9 163,9 149,0 156,7 5,2%
DK 10,9 10,7 11,9 12,9 12,3 12,8 4,0%
EE 0,9 1,1 1,3 1,6 1,3 1,2 -6,8%
ES 131,3 135,4 146,8 140,7 137,5 143,9 4,7%
FI 7,1 7,1 6,5 7,7 7,7 6,9 -10,4%
FR 153,6 165,5 187,2 184,2 173,5 194,8 12,3%
GB 139,1 142,5 155,9 175,9 167,3 171,3 2,4%
GR 13,0 13,5 13,4 ~ ~ ~ –
HU 14,4 14,3 15,7 15,3 13,7 13,7 0,1%
IE 12,4 14,9 15,9 17,3 17,4 17,3 -0,8%
IT 103,5 103,4 110,0 111,5 105,0 115,0 9,5%
LT 1,8 2,1 1,8 1,4 1,4 1,4 -2,5%
LU 1,3 1,4 1,4 1,4 1,3 1,3 5,6%
LV 1,4 1,5 1,2 1,1 1,1 1,6 45,0%
MT 1,0 1,0 1,0 1,1 1,1 1,0 -4,5%
NL 18,6 21,5 23,9 24,1 24,9 23,0 -7,3%
PL 26,6 18,7 26,2 25,9 23,8 33,4 40,5%
PT (1) 17,0 17,9 19,5 19,5 18,7 17,0 –
SE 16,0 17,0 18,1 18,3 18,2 16,6 -8,6%
SI 2,0 2,2 2,5 2,8 3,0 3,0 1,1%
SK 3,0 2,6 2,8 3,0 3,0 2,9 -2,3%

EUR 15 est 810 843 931 936 889 934 5,1%

EUR 10 est 60 53 65 64 61 71 16,3%

EUR 25 est 870 896 996 1 000 950 1 005 5,8%
(1) Suite à l’introduction d’un système de billeterie, les données 2003 et 2004 ne sont pas comparables entre elles.

2003 and 2004 data are not comparable, following the introduction of a computerized ticketing system in early 2004.

| Les données en italique sont estimées ou provisoires.
Data in italics are estimated or provisional. Source: OBS

Union européenne | European Union
24

Fréquentation des salles de cinéma
de l’Union européenne (EUR 15) | 1990-2004
Cinema attendance in the European Union (EUR 15) | 1990-2004

En millions. | In millions.
Source: OBS

0
50
100
150
200

9 0 9 2 9 4 9 6 9 8 0 0 0 2 0 4 (prov.)

FR
GB
DE
ES
IT
BE
NL
PT est.
AT
SE
IE
GR est.
DK
FI
LU

Fréquentation des salles de cinéma des nouveaux
Etats membres de l’Union européenne (EUR 10) | 1990-2004
Admissions in the new Member States
of the European Union (EUR 10) | 1990-2004

En millions. | In millions.
Source: OBS
0
10
20
30
40
9 0 9 2 9 4 9 6 9 8 0 0 0 2 0 4 (prov.)

PL
HU
CZ
SK
SI
LT
EE
LV
MT
CY

Union européenne | European Union
25

Autres | Others
EUR: 3,4%

DE
3,4%

ES
2,8%

FR
8,6%

GB
6,3%

IT
2,4%

US
63,0%

RdM | RoW
2,1%

dont | of which:
US-EUR co-prods. 8,1%

Total | Total:
US + US-EUR = 71,1% 2003

Autres | Others
EUR: 2,1%

DE
4,5%

ES
2,1%

FR
9,5%

GB
6,1%

IT
2,2%

US
59,7%

RdM | RoW
2,1%

dont | of which:
US-EUR co-prods. 11,7%

Total | Total:
US + US-EUR = 71,4%

2004 prov.

Répartition des entrées dans l’Union européenne (EUR 25)
suivant l’origine des films | 2003-2004 est.
Breakdown by origin of films of admissions
in the European Union (EUR 25) | 2003-2004 est.

Source: OBS/LUMIERE

Union européenne | European Union

Titre original Pays d’origine Année Réalisateur Entrées
Original title Country of origin Year Director Admissions

1 Titanic US 1997 James Cameron 103 622 959
2 Lord of the Rings: The Fellowship… US / NZ 2001 Peter Jackson 59 457 180
3 Harry Potter and the Sorcerer’s Stone US / GB 2001 Chris Columbus 59 306 758
4 Lord of the Rings: The Two Towers US / NZ 2002 Peter Jackson 54 766 179
5 Lord of the Rings: The Return of the King US / NZ / DE 2003 Peter Jackson 54 201 569
6 Harry Potter and the Chamber of Secrets US / GB 2002 Chris Columbus 51 896 076
7 Star Wars: Episode I – The Phantom Menace US 1999 George Lucas 45 012

431

8 Finding Nemo US 2003 A. Stanton & L. Unkrich 44 088 000
9 Shrek 2 US 2004 A. Adamson & K. Asbury 43 107 277

10 Independence Day US 1996 Roland Emmerich 42 518 119
11 Harry Potter and the Prisoner of Azkaban US / GB 2004 Alfonso Cuarón 40 232 461
12 The Sixth Sense US 1999 M. Night Shyamalan 37 095 751
13 Men in Black US 1997 Barry Sonnenfeld 33 537 934
14 The Matrix Reloaded US 2003 A. & L. Wachowski 32 828 654
15 Spider-Man US 2002 Sam Raimi 32 801 951
16 Gladiator US 2000 Ridley Scott 31 614 538
17 Tarzan US 1999 Chris Buck & Kevin Lima 31 285 644
18 Star Wars: Episode II – Attack of the Clones US 2002 George Lucas 31 201 011
19 Bridget Jones’s Diary GB / US 2001 Sharon Maguire 29 881 124
20 Notting Hill GB 1999 Roger Michell 29 730 638

Source: OBS/LUMIERE

Entrées cumulées des films européens
distribués en Europe | 1996-2004
Cumulative admissions for European films in Europe | 1996-2004

Basé sur une analyse d’environ 80 % des entrées dans 34 pays européens (1996-2003) et dans 24 pays européens
y compris la Turquie pour 2004. | Based on analysis of around 80% of admissions in 34 European countries for
1996-2003 and in 24 European countries including Turkey for 2004.

Titre original Pays d’origine Année Réalisateur Entrées
Original title Country of origin Year Director Admissions

1 Bridget Jones’s Diary GB / US 2001 Sharon Maguire 29 881 124
2 Notting Hill GB 1999 Roger Michell 29 730 638
3 The World Is Not Enough GB / US 1999 Michael Apted 26 915 854
4 Die Another Day GB / US 2002 Lee Tamahori 26 706 890
5 Bean GB / US 1997 Mel Smith 26 093 036
6 The Full Monty GB 1997 Peter Cattaneo 25 670 426
7 Astérix & Obélix : Mission Cléopâtre FR / DE 2002 Alain Chabat 22 220 066
8 Astérix et Obélix contre César FR / DE / IT 1999 Claude Zidi 22 025 357
9 Le fabuleux destin d’Amélie Poulain FR / DE 2001 Jean-Pierre Jeunet 21 863 550

10 Le cinquième élément FR 1997 Luc Besson 21 505 970
11 Tomorrow Never Dies GB / US 1997 Roger Spottiswoode 21 373 520
12 La vita è bella IT 1997 Roberto Benigni 19 975 996
13 Bridget Jones: The Edge of Reason GB/US/FR/DE/IE 2004 Beeban Kidron 17 421 322
14 Love Actually GB / US 2003 Richard Curtis 16 286 557
15 Chicken Run GB / US 2000 Peter Lord & Nick Park 16 258 868
16 The Others ES 2001 Alejandro Amenábar 14 708 799
17 Johnny English GB / US 2003 Peter Howitt 14 535 699
18 Der Schuh des Manitu DE 2001 Michael Herbig 14 261 446
19 Evita GB / US 1996 Alan Parker 13 417 787
20 Taxi 2 FR 2000 Gérard Krawczyk 13 136 523

Source: OBS/LUMIERE
26

Entrées cumulées des films distribués en Europe | 1996-2004
Cumulative admissions for films in distribution
in Europe | 1996-2004

Union européenne | European Union
27

s Entrées des films en distribution en Europe | 2004
Admissions to films in distribution in Europe | 2004

Classement provisoire sur la base de données provenant de 24 pays européens y compris la Turquie (environ 87 %
des entrées dans les 25 pays de l’Union européenne analysées). | Provisory ranking on the basis of data from
24 European countries including Turkey (around 87% of admissions in the 25 European Union countries analysed).

Titre original Pays d’origine Année Réalisateur Entrées
Original title Country of origin Year Director Admissions

1 Bridget Jones: The Edge of Reason GB/US/FR/DE/IE 2004 Beeban Kidron 17 421 322
2 Les choristes FR / CH / DE 2004 Christophe Barratier 11 399 905
3 (T)Raumschiff Surprise – Periode 1 DE 2004 Michael Herbig 10 731 881
4 Sieben Zwerge – Männer allein im Wald DE 2004 Sven Unterwaldt Jr. 7 323 345
5 Cold Mountain (1) GB / US / RO / IT 2003 Anthony Minghella 6 238 073
6 Two Brothers FR / GB 2004 Jean-Jacques Annaud 5 248 868
7 Un long dimanche de fiançailles FR 2004 Jean-Pierre Jeunet 4 708 990
8 Der Untergang DE / IT 2004 Oliver Hirschbiegel 4 684 536
9 Podium FR / BE 2004 Yann Moix 4 310 997

10 Mar adentro ES / FR / IT 2004 Alejandro Amenábar 4 125 821
11 G.O.R.A. TR 2004 Ömer Faruk Sorak 3 980 947
12 Les rivières pourpres II – Les anges… FR / IT / GB 2004 Olivier Dahan 3 960 958
13 Alexander GB / FR / NL 2004 Oliver Stone 3 857

447

14 La mala educación ES 2004 Pedro Almodóvar 3 728 484
15 Love Actually (2) GB / US 2003 Richard Curtis 3 408 523
16 Girl with a Pearl Earring GB / LU 2003 Peter Webber 3 221 485
17 Les 11 commandements FR 2004 F. Desagnat & T. Sorriaux 3 067 458
18 Vizontele Tuuba TR 2004 Yilmaz Erdogan 2 934 504
19 L’ enquête corse FR 2004 Alain Berberian 2 651 406
20 Around the World in 80 Days GB / US / DE / IE 2004 Frank Coraci 2 692 694
(1) 80 102 entrées en Europe en 2003. | 80 102 admissions in Europe in 2003.
(2) 12 878 034 entrées en Europe en 2003. | 12 878 034 admissions in Europe in 2003.

Source: OBS/LUMIERE
Titre original Pays d’origine Année Réalisateur Entrées
Original title Country of origin Year Director Admissions

1 Shrek 2 US 2004 A. Adamson & K. Asbury 43 107 277
2 Harry Potter and the Prisoner of Azkaban US / GB 2004 Alfonso Cuarón 40 232 461
3 Troy US / GB / MT 2004 Wolfgang Petersen 26 938 980
4 The Lord of the Rings: The Return… (1) US / NZ / DE 2003 Peter Jackson 26 531 171
5 Spider-Man 2 US 2004 Sam Raimi 26 199 978
6 The Day After Tomorrow US 2004 Roland Emmerich 23 601 695
7 The Incredibles US 2004 Brad Bird 23 176 201
8 The Last Samurai US / NZ / JP 2003 Edward Zwick 18 819 511
9 The Passion of Christ US 2004 Mel Gibson 18 585 975

10 Bridget Jones: The Edge of Reason GB/US/FR/DE/IE 2004 Beeban Kidron 17 421 322
11 Brother Bear (2) US 2003 A. Blaise & R. Walker 15 774 824
12 Shark Tale US 2004 B. Bergeron & V. Jenson 15 304 178
13 I, Robot US 2004 Alex Proyas 14 367 114
14 Van Helsing US / CZ 2004 Stephen Sommers 12 744 935
15 The Village US 2004 M. Night Shyamalan 12 485 662
17 Something’s Gotta Give US 2003 Nancy Meyers 11 408 376
16 Les choristes FR / CH / DE 2004 Christophe Barratier 11 399 905
18 King Arthur US / GB / IE 2004 Antoine Fuqua 10 931 434
19 Garfield US 2004 Peter Hewitt 10 854 041
20 (T)Raumschiff Surprise – Periode 1 DE 2004 Michael Herbig 10 731 881
(1) 27 670 398 entrées en Europe en 2003. | 27 670 398 admissions in Europe in 2003.
(2) 718 534 entrées en Europe en 2003. | 718 534 admissions in Europe in 2003. Source: OBS/LUMIERE

Entrées des films européens distribués en Europe | 2004
Admissions to European films released in Europe | 2004

Classement provisoire sur la base de données provenant de 24 pays européens y compris la Turquie (environ 87 %
des entrées dans l’Union européenne analysées) | Provisory ranking on the basis of data from 24 European countries
including Turkey (around 87% of admissions in the European Union analysed).

Union européenne | European Union
28

Densité d’écrans et concentration des entrées
dans les multiplexes | 2001-2003
Density of screens and concentration of admissions in multiplexes | 2001-2003

| Ce tableau présente les écrans situés et les entrées enregistrées dans les multiplexes (complexes d’au moins 8 écrans)
comme pourcentage du nombre total des écrans.
This table presents screens and admissions in multiplexes (at least 8 screens) as a percentage of the total
number of screens and the total number of admissions in each country.

Densité d’écrans dans les cinémas à un écran,
les multi-écrans et les multiplexes | 2003
Density of screens in monoscreen cinemas, multiscreens
and multiplexes | 2003

| Ce tableau présente les écrans respectivement situés dans des cinémas à un seul écran, dans des cinémas
à plusieurs écrans et dans des multiplexes (>= 8 salles) en tant que pourcentage du total des écrans de chaque pays.
This table presents the screens in monoscreen cinemas, multiscreens and multiplexes respectively
as a percentage of the total number of screens in the countries concerned.

Pays 1 écran 2 écrans 3-5 écrans 6-7 écrans >= 8 écrans
Country 1 screen 2 screens 3-5 screens 6-7 screens >= 8 screens
AT 13,45% 11,64% 26,00% 11,09% 37,82%
BE 10,10% 6,86% 17,14% 13,52% 52,38%
DE 18,71% 12,49% 29,54% 13,23% 26,03%
DK 25,33% 15,83% 27,97% 11,87% 19,00%
ES 15,09% 3,88% 15,72% 14,83% 50,47%
FI 53,69% 10,03% 17,70% 5,90% 12,68%
FR 23,92% 10,63% 25,52% 10,63% 29,31%
GB ~ ~ ~ ~ 59,98%
GR est ~ ~ ~ ~ 18,22%
IE ~ ~ ~ ~ 36,47%
IT (1) 50,53% 9,93% 16,71% 4,12% 18,70%
LU 34,62% 7,69% 19,23% _ 38,46%
NL 5,64% 12,94% 49,92% 13,60% 17,91%
PT 20,09% 8,97% 17,52% 19,66% 33,76%
SE 61,20% 4,79% 15,38% 4,44% 14,19%
(1) Ecrans avec plus de 60 jours d’activité par an. | Screens with more than 60 days of activity per year. Source: MEDIA Salles

Pays Densité Concentration Densité Concentration Densité Concentration
des écrans des entrées des écrans des entrées des écrans des entrées

Country Screen Concentration Screen Concentration Screen Concentration
density of admissions density of admissions density of admissions
2001 2002 2003

AT 38,86% 54,17% 38,16% 64,12% 37,82% 59,63%
BE 48,68% 74,45% 50,19% 75,90% 52,38% 77,04%
CZ 10,01% 28,44% 14,48% 42,38% 16,25% 51,74%
DE 25,21% 39,74% 25,39% 39,60% 26,03% 40,96%
DK 15,51% 27,55% 15,51% 30,07% 19,00% 31,78%
EE 13,58% 54,16% 13,58% 63,88% 13,58% 64,41%
ES 40,94% 53,39% 45,79% 59,72% 50,47% 64,19%
FI 12,68% 37,76% 12,57% 34,84% 12,68% 40,58%
FR 26,27% 45,16% 28,21% 47,48% 29,31% 49,89%
GB 56,22% ~ 59,17% ~ 59,98% ~
GR est 10,35% ~ 16,86% 45,10% 18,22% ~
HU 17,68% ~ 20,50% ~ 21,05% 45,98%
IE 30,75% ~ 27,91% ~ 36,47% ~
IT (1) 12,02% 16,95% 16,28% 24,86% 18,70% 32,17%
LU 40,00% 76,05% 40,00% 75,04% 38,46% 78,70%
NL 12,39% 20,23% 16,86% 23,34% 17,91% 30,46%
PL 21,95% ~ 25,53% ~ 30,10% 57,57%
PT 18,91% ~ 30,42% ~ 33,76% ~
SE 13,88% 37,84% 14,80% ~ 14,19% ~
SI 13,04% 40,45% 22,73% ~ 20,00% 70,57%
SK 2,77% ~ 6,49% ~ 6,90% ~
(1) Ecrans avec plus de 60 jours d’activité par an. | Screens with more than 60 days of activity per year. Source: MEDIA Salles

Union européenne | European Union

Evolution des entrées dans l’Union européenne (EUR 25) | 1996-2004
Admissions in the European Union (EUR 25) | 1996-2004

En millions. | In millions.
Source: OBS
0
600
800
1 000
400
200
9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4 (prov.)

Autres | Others
Films européens hors
marché national
European films outside
national market
Films nationaux
sur leur propre marché
National films
on their own market
US

Entrées des films européens aux Etats-Unis | 1996-2004 est.
Admissions for European films on the US market | 1996-2004 est.

Source: OBS
0

60 000 000

80 000 000

100 000 000

40 000 000

20 000 000

9 6 9 7 9 8 0 10 09 9 0 4 (prov.)0 30 2

Autres EUR
Other EUR
IT
FR
ES
DE
GB & GB/US

MIF05•booklet 23/05/05 11:08 Page 29

Allemagne | Germany

Habitants 2004 (millions) 82,5 Inhabitants 2004 (millions)
PIB 2003 (milliards USD) 2 403 GDP 2003 (USD billions)
1 USD (mars 2005) 0,77 EUR 1USD (March 2005)
Entrées 2004 (millions) 156,7 Admissions 2004(millions)
Entrées moyennes/hab. 1,90 Average admissions/inhab.
Prix moyen du billet 5,70 EUR (=7,40 USD) Average ticket price
Ecrans 2004 4 870 Screens 2004
Entrées dans multiplexes 2004 45,3% Admissions in multiplexes 2004

National
National

3,8%

Autres
Others
76,2%

Parts de marché | Market shares 2004

Source: FFA

100
200
600
800
400

1 000200

140
160
180
120

132,8
12

4,5

132,9

143,1
148,9

149

152,5

177,9

163,9

149
156,7

638 631,6
688,2

747,6
8

12,6

808,1

824,5

987,2 960,1

850
892,9

9 4 9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4
0
Entrées et recettes brutes des salles | 1994-2004
Admissions and gross box office | 1994-2004

Source: SPIO

0
40
60
140
100
120
80
20
9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4

37
42 47 39

44
47

39262830

14
2226

5 5 4 2 4
6 6

10
5

12
20

18
10 13 18

23 22 22

45
54

60
26 27
89

76
70

88
94

107

117

107

121

Total | Total
Fiction : 100 % national
Fiction: 100% national
Fiction : coproductions
Fiction: co-productions
Documentaires : 100 % national
Documentaries: 100% national
Documentaires : coproductions
Documentaries: co-productions

Nombre de longs métrages allemands en première distribution | 1995-2004
Number of German feature films on first release | 1995-2004

Entrées (Millions)
Admissions (Millions)
Recettes brutes (Millions EUR)
Gross box office (EUR million)

Allemagne | Germany

En Allemagne, la fréquentation des cinémas a
atteint 156,7 millions de billets vendus en 2004, soit
5,2 % de plus que l’année précédente. 36,7 millions
d’entrées ont été enregistrées pour les films alle-
mands, soit une part de marché de 23,8 %, meilleur
résultat des quinze dernières années.

Le film ayant remporté le plus de succès en 2004
est la parodie de science-fiction de production natio-
nale (T)Raumschiff Surprise – Periode 1, avec 9,1 mil-
lions d’entrées, devant Harry Potter and the Prisoner
of Azkaban et ses 6,5 millions de billets vendus. Deux
autres films nationaux, 7 Zwerge – Männer allein im
Wald et Der Untergang figurent également dans le
classement des 10 films ayant remporté le plus de
succès.

UIP a été le principal distributeur en 2004 avec
une part de marché de 20,3 %, reléguant Warner à
la deuxième position pour la première fois en deux
ans. Buena Vista occupe la troisième place avec
15,8 % et l’indépendant Constantin, en quatrième
position, devance Sony et Fox avec une part de
14,9 %, principalement grâce au succès de (T)raum-
schiff Surprise – Periode 1.

Le volume total de films de long métrage alle-
mands produits a légèrement progressé, avec un
total de 87 nouveaux films en première sortie en
2004 (80 en 2003). Les niveaux de coproduction
sont restés stables avec 27 films. La production de
documentaires de long métrage a toutefois connu
une belle progression de son activité sur les cinq der-
nières années, passant d’un total de 14 nouveaux
films projetés en 1999 à un total de 34 en 2004,
dont 12 coproductions.

Sources : Blickpunkt, FFA, SPIO

Admissions to cinemas in Germany reached 156.7
million in 2004, a rise of 5.2% on the preceding year.
36.7 million admissions were recorded for German films,
giving local films a market share of 23.8%, the best result
of the last fifteen years.

The best performing film of the year was the locally
produced science-fiction parody (T)Raumschiff Surprise –
Periode 1, with 9.1 millions admissions, ahead of Harry
Potter and the Prisoner of Azkaban with 6.5 million tickets
sold. Two other local films, 7 Zwerge – Männer allein im
Wald and Der Untergang also figured in the overall top 10
for the year.

UIP was the leading distributor in 2004 with a market
share of 20.3%, pushing Warner into second position for
the first time in two years. Buena Vista was in third place
with 15.8% and independent Constantin came in fourth
position ahead of Sony and Fox with a share of 14.9% due
in large part to the success of (T)Raumschiff Surprise –
Periode 1.

The total volume of German fiction feature films pro-
duction increased slightly, with a total of 87 new films
on first release in 2004 (80 in 2003). Co-production levels
remained stable at 27 films. Documentary feature pro-
duction has also seen an upsurge in activity over the past
five years, going from a total of 14 new films screened in
1999 to a total of 34 in 2004, of which 12 were co-pro-
ductions.

Sources: Blickpunkt, FFA, SPIO

Les 20 films ayant réalisé le plus d’entrées en Allemagne | 2004
Top 20 films by admissions in Germany | 2004

Titre original Pays d’origine Réalisateur Entrées
Original title Country of origin Director Admissions

1 (T)raumschiff Surprise – Periode 1 DE Michael Herbig 9 137 506
2 Harry Potter and the Prisoner of Azkaban US/GB Alfonso Cuarón 6 547 643
3 7 Zwerge – Männer allein im Wald DE Sven Unterwaldt Jr. 6 486 540
4 Shrek 2 US Adamson, Asbury & Vernon 5 300 423
5 Der Untergang DE/IT Oliver Hirschbiegel 4 521 903
6 Troy US/GB/MT Wolfgang Petersen 4 429 985
7 The Day After Tomorrow US Roland Emmerich 4 086 366
8 Lord of the Rings: Return of the King (1) US/NZ/DE Peter Jackson 3 835 572
9 Brother Bear US Aaron Blaise & Robert Walker 3 452 760

10 Spider-Man 2 US Sam Raimi 3 282

125

11 Something’s Gotta Give US Nancy Meyers 3 008 449
12 I, Robot US Alex Proyas 2 595 234
13 Scary Movie 3 US David Zucker 2 338 554
14 Van Helsing US/CZ Stephen Sommers 2 322 941
15 The Last Samurai US/NZ/JP Edward Zwick 2 244 052
16 The Incredibles US Brad Bird 2 199 987
17 Shark Tale US Bergeron, Jenson & Letterman 1 920 996
18 Der Wixxer DE Tobi Baumann 1 879 720
19 Mona Lisa Smile US Mike Newell 1 859 591
20 Bridget Jones – The Edge of Reason GB/US/FR/DE/IE Beeban Kidron 1 806 491
(1) 6 594 748 entrées en 2003. | 6 594 748 admissions in 2003. Source : FFA

Espagne | Spain

Habitants 2004 (millions) 42,9 Inhabitants 2004 (millions)
PIB 2003 (milliards USD) 839 GDP 2003 (USD billions)
1 USD (mars 2005) 0,77 EUR 1USD (March 2005)
Entrées 2004 (millions) 143,9 Admissions 2004 (millions)
Entrées moyennes/hab. 3,35 Average admissions/inhab.
Prix moyen du billet 4,81 EUR (=6,21 USD) Average ticket price
Ecrans 2004 4 388 Screens 2004
Ecrans dans multiplexes 2003 50,5% Screens in multiplexes 2003

National
National

13,4%

Autres
Others

8,2%

US | US
78,4%

Parts de marché | Market shares 2004
est.

Source: ICAA

60 200

300
400
600
500
800
700
150
140
80
90
100
110
120
130

70
288,7

301,8

352,3
360,9

427,8 495,9

536,3
616,4

25,9

639,4

691,6

9 4 9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4 (prov.)

94,3

106,7

96,7

107,1

19,9

131,4
135,4

140,7

146,8

137,5
143,9

Entrées et recettes brutes des salles | 1994-2004
Admissions and gross box office | 1994-2004

Entrées (Millions)
Admissions (Millions)
Recettes brutes (Millions EUR)
Gross box office (EUR million)

Source: ICAA
0
60
90
120
150
30
9 0 9 2 9 4 9 6 9 8 0 0 0 2 0 4

10
18 14 15

22 25 25 20

38 34
40

42 41

37
46

38 41 36 37

45 44

64
67

80
68

92
64

52 56
44

91
80

98
107

137
110

133

Total | Total
100% national
100% national
Coproductions
Co-productions

Nombre de films de long métrage produits en Espagne | 1990-2004
Number of feature films produced in Spain | 1990-2004

Espagne | Spain

133 longs métrages impliquant un producteur espa-
gnol ont été terminés en 2004, ce qui représente 23 films
de plus par rapport à 2003. Cette augmentation est due
à la forte croissance du nombre de productions exclusi-
vement nationales (92 en 2004, contre 68 en 2003) alors
que le nombre de coproductions est resté stable.

La fréquentation des salles de cinéma espagnoles a
augmenté de 4,7 % pour atteindre un volume de 143,9
millions de billets vendus ; les recettes du box office ont,
quant à elles, totalisé 691,6 millions d’euros, soit une
augmentation de 8,2 % par rapport à 2003 (639,4 mil-
lions d’euros).

Les parts de marché des films nationaux ont reculé par
rapport à l’année précédente pour s’établir à 13,4 %
(15,8 % en 2003). Le film national le plus populaire est
Mar Adentro, couronné par un Oscar, qui a réalisé un
peu moins de 4 millions d’entrées, se plaçant au troi-
sième rang du classement général, derrière Shrek 2 et
Troy. Mar Adentro est le seul film espagnol à être entré
dans le classement du top 20 en 2004, alors qu’en 2003
deux comédies nationales y étaient présentes.

En 2004, le financement de l’industrie cinématogra-
phique espagnole a bénéficié d’une relance fort bien-
venue : le nouveau gouvernement a accepté de doubler
le budget alloué à l’agence nationale du cinéma. L’Insti-
tuto de la Cinematografía y de las Artes Audiovisuales
(ICAA) disposera, en 2005, d’un budget total s’élevant à
62 millions d’euros contre 33 millions d’euros en 2004.

Source: ICAA

133 Spanish feature films were produced in 2004,
an additional 23 films in relation to the total for 2003.
The increase came from strong growth in the number
of entirely national films produced (92 in 2004, 68
in 2003) while the number of co-productions com-
pleted remained stable.

Attendance at Spanish cinemas moved ahead by
4.7% to reach 143.9 million tickets sold, while box
office receipts totalled 691.6 million euros, a rise of
8.2% on the 2003 figure (639.4 million euros).

Market share for national films was lower than in
the preceding year, reaching 13.4%, (15.8% in 2003).
The most popular local film was the Oscar award-
winning Mar Adentro, with just under 4 million admis-
sions, bringing it into third place in the overall ranking,
behind Shrek 2 and Troy. Mar Adentro was the only
Spanish film to enter the top 20 ranking in 2004,
whereas two local comedies had entered the chart
in 2003.

Funding for the Spanish film industry received a
welcome boost in 2004, with the incoming govern-
ment agreeing an almost doubled budget allocation
to the national film agency. The total funding budget
available to the Instituto de la Cinematografía y de
las Artes Audiovisuales (ICAA) in 2005 will amount to
62 million euros, up from 33 million euros in 2004.

Source: ICAA

Les 20 films ayant réalisé le plus d’entrées en Espagne | 2004
Top 20 films by admissions in Spain | 2004

Classement provisoire. | Provisional ranking.

Titre original Pays d’origine Réalisateur Entrées
Original title Country of origin Director Admissions

1 Shrek 2 US Adamson, Asbury & Vernon 6 195

877

2 Troy US/GB/MT Wolgang Petersen 4 241 281
3 Mar adentro (1) ES/FR/IT Alejandro Amenábar 3 998 550
4 The Last Samurai US/NZ/JP Edward Zwick 3 834 881
5 The Incredibles (1) US Brad Bird 3 439 197
6 Harry Potter and the Prisoner of Azkaban US/GB Alfonso Cuarón 3 477 359
7 Spider-Man 2 US Sam Raimi 3 398 625
8 I, Robot US Alex Proyas 3 054 077
9 The Day After Tomorrow US Roland Emmerich 3 000 479

10 Lord of the Rings: Return of the King (2) US/NZ/DE Peter Jackson 2 589 666
11 The Passion of Christ US Mel Gibson 2 433 473
12 King Arthur US/GB/IE Antoine Fuqua 2 212 742
13 The Village US M. Night Shyamalan 2 077 049
14 Van Helsing US/CZ Stephen Sommers 2 096 516
15 National Treasure (1) US Jon Turteltaub 1 922 526
16 Scary Movie 3 US David Zucker 1 876 557
17 Garfield US Peter Hewitt 1 850 763
18 Something’s Gotta Give US Nancy Meyers 1 729 814
19 Shark Tale US Bergeron, Jenson & Letterman 1 738 927
20 Brother Bear US Aaron Blaise & Robert Walker 1 679 811
(1) Toujours en distribution en 2005. | Still on release in 2005.
(2) 4 162 781 entrées en 2003. | 4 162 781 admissions in 2003. Source: ICAA

MIF05•booklet 23/05/05 11:08 Page 33

France | France

Habitants 2004 (millions) 62,2 Inhabitants 2004 (millions)
PIB 2003 (milliards USD) 1 759 GDP 2003 (USD billions)
1 USD (mars 2005) 0,77 EUR 1USD (March 2005)
Entrées 2004 (millions) 194,8 Admissions 2004 (millions)
Entrées moyennes/hab. 2004 3,13 Average admissions/inhab. 2004
Prix moyen du billet 2003 5,74 EUR (=7,42 USD) Average ticket price 2003
Ecrans 2003 5 295 Screens 2003
Ecrans dans multiplexes 2003 29,3% Screens in multiplexes 2003
Entrées dans multiplexes 2003 49,9% Admissions in multiplexes 2003

National
National

38,4%

Autres
Others
14,4%

US | US
47,2%

Parts de marché | Market shares 2004
est.

Source: CNC

0
160
200
120
40

80
61 63

74
86

102
115 111

126

106
78
37

22
32 27

33 32 32 37 29
36

31 26

28
34 30

39
46

35 34

89
97

104
125

148 150 145

172
163

183
167

9 4 9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4
105

130
« Initiative française »
“French initiative”
100% national
100% national
Coproduction maj.
Maj. co-prod.
Copr. min.
Min. co-prod.

Nombre de films de long métrage ayant reçu
l’agrément de production | 1994-2004
Number of officially recognised feature
films produced | 1994-2004

Source: CNC

100 600

700
900
800
1 100
1 000

1 200200

150
175
125

9 4

9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 4 (prov.)0 3

124,4
130,2

136,7

149

170,6

153,6

165,5

187,2
184,2

173,5

194,8

651,1
693,8

33,4

782,6

911

823,2

892,2

1 018,6

1 027,7

1 000,3

Entrées et recettes brutes des salles | 1994-2004
Admissions and gross box office | 1994-2004
34
Entrées (Millions)
Admissions (Millions)
Recettes brutes (Millions EUR)
Gross box office (EUR million)

France | France

Après le record historique de 212 films agréés atteint
en 2003, le niveau de production est revenu à ce qu’il
était en 2001-2002, soit 203 films. La baisse des films
d’initiative française (167 contre 183) et en particulier
des films de coproduction à majorité française (37 contre
78 en 2003) est partiellement compensée par l’accrois-
sement du nombre de coproductions à majorité étrangère
(36 contre 29 en 2003). L’investissement moyen par film
progresse de 15,3 % pour atteindre 5,34 millions d’euros,
montant jamais atteint depuis dix ans.

La fréquentation a atteint 194,8 millions d’entrées,
soit un niveau qui n’avait plus été réalisé depuis 1984 et
une augmentation de 12,3 % par rapport à 2003. Cette
croissance remarquable ne s’explique pas uniquement
par le succès des titres ayant obtenu le plus de succès :
les 8,5 millions d’entrées des Choristes sont à comparer
avec les 14,2 millions d’entrées d’Astérix & Obélix : Mis-
sion Cléopâtre en 2002 et les 8,8 millions d’Amélie en
2001. Avec 7,1 millions d’entrées, le succès de Shrek 2 est
en retrait par rapport à celui de Finding Nemo en 2003.
Les gains de quelques 20 millions d’entrées sont plutôt
à chercher dans les films intermédiaires : seulement 9
films ont réalisé plus de 3 millions d’entrées, contre 10 en
2003, 13 en 2002, 15 en 2001. Par contre 14 films ont
réalisé entre 2 et 3 millions d’entrées, contre seulement
6 en 2003, 5 en 2002 et 13 en 2001. Une première expli-
cation de la croissance pourrait donc se trouver dans
cette relative déconcentration des succès.

Sources : CNC, Le film français

After a record-breaking level of 212 films
receiving official recognition in 2003, production
volume returned to a level closer to those of 2001
and 2002, with a total of 203 films recognised in
2004. The decline in the number of French initia-
tive films (167 as opposed to 183 in 2003) and par-
ticularly in the number of French majority
co-productions (37 as opposed to 78 in 2003) was
partially compensated by growth in the number of
foreign majority co-productions (36 as opposed to
29 in 2003). Average investment per film increased
by 15.3% to reach 5.34 million euros, the highest
level for the last ten years.

Cinema attendance reached 197.8 million admis-
sions, a total unequalled since 1984 and an increase
of 12.3% in relation to 2003. This remarkable growth
cannot be explained merely by strong results for
most successful films: the 8.5 million admissions reg-
istered for Les choristes in 2004 should be compared
with the 14.2 million tickets sold for Astérix & Obélix:
Mission Cléopâtre in 2002 and the 8.8 million admis-
sions to Amélie in 2001. With 7.1 million tickets sold,
Shrek 2 was in fact less successful in 2004 than Finding
Nemo in 2003. The additional 20 million tickets sold
in 2004 are rather to be found among the films in
the middle ranges: only 9 films registered more than
3 million admissions in 2004, as against 10 in 2003,
13 in 2002, 15 in 2001. However 14 films registered
between 2 and 3 million tickets sold, as opposed to
only 6 in 2001, 5 in 2002 and 13 in 2001. Such lack
of concentration in the success of films could provide
at least an initial explanation for the strong growth
observed.

Sources: CNC, Le film français

Les 20 films ayant réalisé le plus d’entrées en France | 2004
Top 20 films by admissions in France | 2004

Titre original Pays d’origine Réalisateur Entrées
Original title Country of origin Director Admissions

1 Les choristes (1) FR/CH/DE Christophe Barratier 8 580 093
2 Shrek 2 (1) US Adamson, Asbury & Vernon 7 141 375
3 Harry Potter and the Prisoner of Azkaban US/GB Alfonso Cuarón 7 138 548
4 Spider-Man 2 US Sam Raimi 5 328 503
5 The Incredibles (1) US Brad Bird 4 587 196
6 Un long dimanche de fiançailles (1) FR/US Jean-Pierre Jeunet 4 376 482
7 Podium FR/BE Yann Moix 3 582 213
8 Brother Bear US Aaron Blaise & Robert Walker 3 570 528
9 Two Brothers FR/GB Jean-Jacques Annaud 3 326 113

10 Les 11 commandements FR F. Desagnat & T. Sorriaux 2 968 873
11 Shark Tale (1) US Bergeron, Jenson & Letterman 2 964 179
12 Troy US/GB/MT Wolfgang Petersen 2 744 054
13 The Day After Tomorrow US Roland Emmerich 2 687 204
14 L’enquête corse (1) FR Alain Berberian 2 539 330
15 The Village US M. Night Shyamalan 2 388 828
16 Fahrenheit 9/11 (1) US Michael Moore 2 378 455
17 Lord of the Rings: Return King (2) US/NZ/DE Peter Jackson 2 347 837
18 Ocean’s Twelve (1) US/AU Steven Soderbergh 2 327 183
19 The Last Samurai US/NZ/JP Edward Zwick 2 212 212
20 I, Robot US Alex Proyas 2 096 221
(1) Toujours en distribution en 2005. | Still on release in 2005. Source: Le film français
(2) 4 760 000 entrées en 2004. | 4 760 000 admissions en 2004.

Italie | Italy

Habitants 2004 (millions) 58,1 Inhabitants 2004 (millions)
PIB 2003 (milliards USD) 1 468 GDP 2003 (USD billions)
1 USD (mars 2005) 0,77 EUR 1USD (March 2005)
Entrées 2004 (millions) 115 est. Admissions 2004 (millions)
Entrées moyennes/hab. 2004 1,94 est. Average admissions/inhab. 2004
Prix moyen du billet 2004 5,90 EUR est. (=7,62 USD) Average ticket price 2004
Ecrans 2003 3 566 Screens 2003
Ecrans dans multiplexes 2003 18,7% Screens in multiplexes 2003
Entrées dans multiplexes 2004 40,4% est. Admissions in multiplexes 2004

National
National

20,3%

Autres
Others
17,8%

US | US
61,9%

Parts de marché | Market shares 2004

Sources: ANICA

0
120
160
80
40
134
96
38

24
15

22
16 16 17

35 34

9
13

71
60

77
71

92
86

68
95
75
99

87
92

108
103

130
117

9 4 9 5 9 6 9 7 9 8 99 0 0 0 1 0 2 0 40 3

103

96 98
Total | Total
100% national
100% national
Coproductions
Co-productions

Nombre de films de long métrage produits en Italie | 1994-2004
Number of feature films produced in Italy | 1994-2004

Sources: SIAE & Cinetel/ANICA

80
90
110
300
500
400
600
700

800120

100
9 4 9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4 (prov.)

430

374

447

498

587

533
529

589
629

609

671

98
91
97
103

118

103 103

110 111

105
115
Entrées et recettes brutes des salles | 1994-2004
Admissions and gross box office | 1994-2004
Entrées (Millions)
Admissions (Millions)
Recettes brutes (Millions EUR)
Gross box office (EUR million)
36

Italie | Italy

Les niveaux globaux de production sont restés
stables en Italie en 2004, avec 96 films financés par
des capitaux exclusivement nationaux et 15 copro-
ductions majoritaires réalisées pendant l’année (98
films entièrement nationaux et 12 coproductions majo-
ritaires en 2003). Toutefois, la participation des pro-
ducteurs italiens dans les coproductions minoritaires
a fortement progressé, avec un total de 23 coproduc-
tions minoritaires enregistrées en 2004, contre 7 l’année
précédente. L’investissement total dans les films financés
par des capitaux exclusivement nationaux s’est élevé à
197,4 millions d’euros, soit 40 % de moins par rap-
port aux 237,1 millions d’euros investis en 2003. Ce
déclin a été partiellement compensé par l’augmenta-
tion de l’investissement dans les coproductions, qui a
atteint 86,9 millions EUR.

D’après Cinetel, les entrées en 2004 ont progressé
de 12%, pour un total de 97,9 millions de billets
vendus. Des estimations prudentes situent la fréquen-
tation pour l’ensemble du marché à 115 millions d’en-
trées (105 millions en 2003). Le nombre d’entrées
enregistrées dans les multiplexes a progressé de 7,6 %
alors que 17 nouveaux complexes ont ouvert leurs
portes, amenant le nombre total d’écrans situés dans
les multiplexes à 859, soit 170 écrans de plus qu’en
2003.

Les comédies Il paradiso all’improvviso et Christmas
in Love ont été les films nationaux les plus populaires
de l’année, et figurent respectivement à la 8e et à la
10e place du classement annuel. La part de marché
des productions nationales a atteint 20,3 %, soit 1,5 %
de moins qu’en 2003 (21,8 %).

Sources : ANICA, Cinetel

Overall production levels remained stable in Italy in
2004, with 96 entirely national films and 15 majority co-
productions completed during the year (98 entirely
national films and 12 majority co-productions in 2003).
Italian producers’ participation in minority co-produc-
tions showed strong growth, however, with a total of
23 minority co-productions registered in 2004, com-
pared to 7 in the preceding year. Total investment in
entirely national films stood at 197.4 million euros, a
40% drop in relation to the 237.1 million euros invested
in 2003. This was partly compensated by the higher
value of investment in co-productions. The average
budget for an Italian film was 2.1 million euros, down
from 2.58 million in 2003.

Admissions reported by Cinetel for 2004 showed
an increase of 12%, for a total of 97.9 million tickets
sold. Conservative estimates situate the total for the
entire market at 115 million admissions (105 million in
2003). The number of admissions reported in multi-
plexes rose by 7.6% as 17 new complexes opened their
doors, bringing the total number of screens situated in
multiplexes to 859, 170 more screens than in 2003.

Comedies Il paradiso all’improvviso and Christmas in
Love were the most popular local films of the year,
coming in at 8th and 10th place respectively in the
annual ranking. Market share for domestic production
reached 20.3%, a 1.5% drop on the score achieved in
2003 (21.8%).

Sources: ANICA, Cinetel

Les 20 films ayant réalisé le plus d’entrées en Italie | 2004
Top 20 films by admissions in Italy | 2004

Titre original Pays d’origine Réalisateur Entrées
Original title Country of origin Director Admissions

1 Lord of the Rings: Return of the King US/NZ/DE Peter Jackson 3 753 069
2 The Passion of Christ US Mel Gibson 3 393 166
3 Spider-Man 2 US Sam Raimi 3 205 592
4 The Last Samurai US/NZ/JP Edward Zwick 2 985 648
5 Harry Potter and the Prisoner of Azkaban US/GB Alfonso Cuarón 2 782 159
6 Troy US/GB/MT Wolfgang Petersen 2 593 745
7 The Incredibles US Brad Bird 2 386 688
8 Il paradiso all’improvviso (1) IT Leonardo Pieraccioni 2 182 630
9 Shrek 2 US Andrew Adamson & Kelly Asbury 2 143 977

10 Christmas in Love IT Neri Parenti 1 904 182
11 Tu la conosci Claudia? IT Massimo Verdier 1 768 186
12 Shall We Dance? US Peter Chelsom 1 754 155
13 The Day After Tomorrow US Roland Emmerich 1 665 889
14 Fahrenheit 9/11 US Michael Moore 1 534 737
15 Scary Movie 3 US David Zucker 1 488 834
16 Non ti muovere IT/ES/GB Sergio Castellitto 1 472 897
17 L’amore è eterno finché dura IT Carlo Verdone 1 297 542
18 Van Helsing US/CZ Stephen Sommers 1 207 513
19 The Terminal US Steven Spielberg 1 205 593
20 Something’s Gotta Give US Nancy Meyers 1 181 025
(1) 1 829 916 entrées en 2003. | 1 829 916 admissions in 2003. Source : Cinetel

Royaume-Uni | United Kingdom

Habitants 2003 (millions) 59,6 Inhabitants 2003 (millions)
PIB 2003 (milliards USD) 1 798 GDP 2003 (USD billion)
1 USD (avril 2005) 0,53 GBP 1 USD (April 2005)
Entrées 2004 (millions) 171,3 Admissions 2004 (millions)
Entrées moyennes/hab. 2004 2,87 Average admissions/inhab. 2004
Prix moyen du billet 2004 4,49 GBP (8,47 USD) Average ticket price 2004
Ecrans 2004 3 474 Screens 2004
Ecrans dans multiplexes 2003 60,0% Screens in multiplexes 2003

National
National

12,4%

Autres
Others
3,8%

US | US
83,8%

Parts de marché | Market shares 2004
est.

Sources: BFI/Screen Finance

0
90
150
120
60
30

8 5
13

6 4 6
9 11

15
25
9

17 15
18

21 1917
11

18 20

38 40

77 74
65

51 52
41 40

78
81

127
115

91
103

90
83 84

88
75
9 4 9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4
9
13
12

19
12 18 17

Total | Total
100% national
100% national
Coproduction majoritaire
Majority co-production
Coproduction minoritaire
Minority co-production
Production US et étrangère
US and foreign production

Nombre de films de long métrage produits
au Royaume-Uni | 1994-2004
Number of feature films produced in the United Kingdom | 1994-2004

Entrées et recettes brutes des salles | 1994-2004
Admissions and gross box office | 1994-2004

Source: CAA

100 100

200
600
700
500
400
300
900
800
180
170
120
110
160
150
140
130
9 4 9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4

123,6

114,5

23,5

138,9 135,2
139,1

142,5

155,9

176

167,3
171,3

353,5 353,3
403,8

486,5 500,9
556,4

573 645

754,5

742
769,6

Entrées (Millions)
Admissions (Millions)
Recettes brutes (1) (Millions GBP)
Gross box office (1) (GBP million)

(1) Série révisée afin d’exclure recettes brutes en provenance de la République d’Irlande.
Series revised to exclude Republic of Ireland gross box office.

Royaume-Uni | United Kingdom

Au Royaume-Uni, la fréquentation des salles en 2004
s’est élevée à 171,3 millions d’entrées, soit 2,4 % de plus
qu’en 2003 (167,3 millions). Les recettes au guichet sont
passées de 742 millions GBP en 2003 à 769,6 millions
en 2004 (+3,7 %), les bons résultats des mois de juin et
juillet compensant une fin d’année terne.

Les données communiquées par Screen Finance sur
le nombre de films commençant leur tournage en 2004
montrent que le volume de films impliquant un pro-
ducteur britannique a diminué, avec un total de 75 débuts
de tournage enregistrés (88 films en 2003).

La valeur totale de l’investissement dans la production
(à la fois étrangère et nationale) enregistrée pour l’année
a été de 807,9 millions GBP, en diminution par rapport
au niveau exceptionnellement élevé des investissements
enregistrés en 2003 (1.157,7 millions GBP), selon les
données communiquées par UK Film Council Interna-
tional.

Les films britanniques ont réalisé une part de marché
estimée de 12,4 % sur leur marché national en 2004, à
comparer aux 11,9 % enregistrés en 2003. En incluant
les productions Etats-Unis/Royaume-Uni, cette part passe
à 23 % des entrées totales, en raison des très bons résul-
tats de films tels que Harry Potter and the Prisoner of
Azkaban et Troy, tous deux entrant dans cette catégorie.
Le film d’initiative britannique ayant remporté le plus
grand succès est Bridget Jones: The Edge of Reason, avec
une estimation de 8 millions de billets vendus sur le
marché national, auxquels s’ajoutent 9,4 millions de
billets au niveau européen.

Sources : CAA, Screen Finance, UK Film Council

171.3 million admissions to cinemas were regis-
tered in the United Kingdom in 2004, a 2.4% increase
on the total for 2003 (167.3 million). Box office
receipts went from 742 million GBP in 2003 to 769.6
million in 2004 (+3.7%) with strong results during
the months of June and July helping to compensate
for a lacklustre year-end.

Data from Screen Finance on the number of film
starts in 2004 shows that the volume of films involving
a UK producer fell back during the year, with a total
of 75 starts recorded (88 films in 2003).

The total value of investment in production (both
inward and domestic) recorded for the year was 807.9
million GBP, a drop on the exceptionally high level
of investment recorded in 2003 (1,157.7 million GBP),
according to data from UK Film Council International.

UK films achieved an estimated market share of
12.4% on the domestic market in 2004, compared
to a share of 11.9% registered in 2003. If US/UK pro-
ductions are taken into account this share rises to an
estimated 23% of total admissions, given the strong
results for films such as Harry Potter and the Prisoner of
Azkaban and Troy, both of which fall into this cate-
gory. Top ranking UK initiative film was Bridget Jones:
The Edge of Reason, which sold an estimated 8 mil-
lion tickets on the domestic market, as well as a fur-
ther 9.4 million Europe-wide.

Sources : CAA, Screen Finance, UK Film Council

Les 20 films ayant réalisé les meilleures recettes
au Royaume-Uni et en Irlande | 2004
Top 20 films by gross box office
in the United Kingdom and Ireland | 2004

Titre original Pays d’origine Recettes brutes (GBP)
Original title Country of origin Gross box office (GBP)

1 Shrek 2 US 48 104 138
2 Harry Potter & the Prisoner of Azkaban US/GB 46 077 489
3 Bridget Jones: The Edge of Reason (1) GB/US/FR/DE/IE 35 089 179
4 The Incredibles (1) US 27 995 446
5 Spider-Man 2 US 26 716 429
6 Lord of the Rings: Return of the King (2) US/NZ/DE 25 535 944
7 The Day After Tomorrow US 25 212 419
8 Shark Tale (1) US 22 814 450
9 Troy US/GB/MT 18 002 561

10 I, Robot US 17 981 834
11 Scooby-Doo 2 US 16 490 226
12 Van Helsing US/CZ 15 147 178
13 Starsky & Hutch US 12 601 186
14 The Last Samurai US/NZ/JP 11 897 193
15 The Bourne Supremacy US/DE 11 555 913
16 The Passion of Christ US 11 078 861
17 School of Rock US/DE 10 498 167
18 The Village US 10 312 168
19 Lost in Translation US/JP 10 057 131
20 Dodge Ball: A True Underdog Story US 10 030 463
(1) Toujours en distribution en 2005. | Still on release in 2005.
(2) GBP 35 344 979 en 2003. | GBP 35 344 979 in 2003. Source: UK Film Council / Nielsen EDI

Benelux – Suisse – Autriche | Benelux – Switzerland – Austria

AT BE CH LU NL

Habitants 2003 (millions) Inhabitants 2003 (millions) 8,1 10,3 7,2 0,5 16,2
PIB 2003 (milliards USD) GDP 2003 (USD billion) 259 301 320 27 524
1 USD (avril 2005) 1USD (April 2005) 0,77 EUR 0,77 EUR 1,20 CHF 0,77 EUR 0,77 EUR
Entrées 2004 (millions) Admissions 2004 (millions) 19,4 est. 23,0 17,2 est. 1,3 23,0
Entrées/habitant 2004 Admissions/Inhabitant 2004 2,40 2,23 2,39 2,96 1,42
Nombre de salles 2004 Screens 2004 560 503(1) 539 est. 24 687
Ecrans dans multiplexes 2003 Screens in multiplexes 2003 37,8% 52,4% 10,8% 38,5% 17,9%
Entrées dans multiplexes 2003 Admissions in multiplexes 2003 59,6% 77,0% 17,5% 78,7% 30,5%
PDM films nationaux 2004 Share national films 2004 – est. 1,7% 2,5% est. 3,1% 9,4%

(1) 2003

Nombre de films produits en Autriche, au Benelux et en Suisse | 1994-2004
Number of feature films produced in Austria,
the Benelux countries and Switzerland | 1994-2004

Sources: FAF/OFS/INS/NFC/CNA/OBS

0
15
25
30
20
10
5
9 4 9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4 (prov.)

0,73 0,67 0,75 1,19
1,41 1,32 1,36 1,41 1,43 1,26 1,33

12,97
11,46 11,80

13,72
15,22 15,02

16,30

18,83 19,32
17,72 19,38

15,20 15,15

15,55 15,92 15,40
15,56

17,08
18,77

16,48 17,20

21,24
19,24

21,21
22,07

25,39

21,87
23,55 24,03

24,38

22,71 23,03

15,98

15,41

17,20 16,78
18,90

20,08
18,60

21,60
23,80 24,10

24,86 23,05
NL
BE
AT
CH
LU

Fréquentation des salles en Autriche, au Benelux et en Suisse | 1994-2004
Admissions in Austria, the Benelux countries and Switzerland | 1994-2004

En millions. | In millions.
40

Sources: FAF/OFS/NFC/MFB/CNA/OBS

0
30
40
20

10 9 7

12
13

17
22

14 1817

1 0 0 0 01
2

0 1 1
2

20
15 15 15

22 23
17
12
26
20

2424 25 25

32
25

27
29

40
31
39
30
22
37
25

33
30

34
28

29 29

9 4 9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4 (prov.)

CH (2)
NL (1)
AT (1)
BE (2)
LU (2)

(1) 100 % nat. et coproductions
100 % nat. and co-productions

(2) coproductions minoritaires
non incluses
minoritary co-productions
not included

Benelux – Suisse – Autriche | Benelux – Switzerland – Austria

Les 20 films ayant réalisé le plus d’entrées en Belgique,
au Luxembourg et aux Pays-Bas | 2004
Top 20 films by admissions in Belgium, Luxembourg
and the Netherlands | 2004

Titre original Réalisateur Entrées
Original title Director Admissions

BE LU (1) NL (1)
1 Harry Potter and the Prisoner of Azkaban Alfonso Cuarón 1 108 663 43 800 1 234 712
2 Shrek 2 A. Adamson & K. Asbury 951 124 57 800 977 181
3 Troy Wolfgang Petersen 772 468 27 800 704 481
4 The Day After Tomorrow Roland Emmerich 662 782 30 700 655 125
5 The Lord of the Rings: The Return… (2) Peter Jackson 84 528 17 700 1 064 195
6 Shark Tale B. Bergeron & V. Jenson 450 148 27 300 612 259
7 The Last Samurai Edward Zwick 577 933 479 232
8 Brother Bear Aaron Blaise & Robert Walker 513 497 25 400 518 269
9 The Incredibles Brad Bird 583 916 28 900 417 313

10 Bridget Jones: The Edge of Reason Beeban Kidron 257 087 621 115
11 Spider-Man 2 Sam Raimi 453 820 33 700 344 163
12 The Village M. Night Shyamalan 398 652 317 758
13 Podium Yann Moix 668 834
14 King Arthur Antoine Fuqua 335 395 310 233
15 Ocean’s Twelve Steven Soderbergh 261 199 344 918
16 Collateral Michael Mann 287 480 305 643
17 Van Helsing Stephen Sommers 294 117 268 389
18 The Passion of Christ Mel Gibson 224 117 275 305
19 Finding Nemo (3) A. Stanton & L. Unkrich 34 622 7 700 407 527
20 Garfield Peter Hewitt 423 397
(1) Données provisoires LU et NL sur la base des 10 et 20 premiers films uniquement.

Provisional LU and NL data on the basis of Top 10 and Top 20 films only.

(2) BE 2003: 677 363, LU 2003: 30 900, NL 2003: 1 012 805. (3) BE 2003: 958 187, LU 2003: 56 000, NL 2003: 939 595.

Sources: Moniteur du film belge/NFC/Utopia

Les 20 films ayant réalisé le plus d’entrées
en Autriche et en Suisse | 2004
Top 20 films by admissions in Austria and Switzerland | 2004

Titre original Réalisateur Entrées
Original title Director Admissions

AT (1) CH Total
1 (T)Raumschiff Surprise – Periode 1 Michael Herbig 1 173 846 391 029 1 564 875
2 Harry Potter and the Prisoner of Azkaban Alfonso Cuarón 662 138 608 204 1 270 342
3 Shrek 2 A. Adamson & K. Asbury 657 737 553 148 1 210 885
4 Troy Wolfgang Petersen 554 953 453 869 1 008 822
5 Something’s Gotta Give Nancy Meyers 494 296 396 039 890 335
6 The Day After Tomorrow Roland Emmerich 444 968 381 723 826 691
7 Sieben Zwerge – Männer allein im Wald Sven Unterwaldt Jr. 596 367 224 726 821 093
8 Brother Bear A. Blaise & R. Walker 469 002 342 512 811 514
9 The Lord of the Rings: The Return… (2) Peter Jackson 396 448 392 114 788 562

10 Spider-Man 2 Sam Raimi 381 755 353 728 735

483

11 The Last Samurai Edward Zwick 307 370 327 629 634 999
12 The Incredibles Brad Bird 323 010 260 572 583 582
13 Bridget Jones: The Edge of Reason Beeban Kidron 318 806 236 774 555 580
14 Ocean’s Twelve Steven Soderbergh 313 881 227 057 540 438
15 Finding Nemo (3) A. Stanton & L. Unkrich 163 594 216 450 380 044
16 Fahrenheit 9/11 Michael Moore 350 695
17 Terminal Steven Spielberg 334 832
18 Lost in Translation Sofia Coppola 269 627
19 Garfield Peter Hewitt 240 596
20 Deep Blue A. Byatt & A. Fothergill 221 771
(1) Données incomplètes pour l’Autriche. | Incomplete data for Austria.
(2) AT 2003: 632 825, CH 2003: 526 527. (3) AT 2003: 972 164, CH 2003: 899 14. Sources: FAF/Procinéma

Pays nordiques | Nordic countries

DK FI IS NO SE

Habitants 2003 (millions) Inhabitants 2003 (millions) 5,4 5,2 0,29 4,6 8,9
PIB 2003 (milliards USD) GDP (USD billion) 2003 213 162 11 221 302
1 USD (avril 2005) 1USD (April 2005) 5,8 DKK 0,8 EUR 61 ISK 6,3 NOK 7,1 SEK
Entrées 2004 (millions) Admissions 2004 (millions) 12,8 6,9 1,5(1) 12,0

16,6

Entrées/habitant 2004 Admissions/Inhabitant 2004 2,4 1,3 5,2(1) 2,6 1,9
Ecrans 2004 Screens 2004 380 340 56(1) 398(1) 1 178
Ecrans dans multiplexes 2003 Screens in multiplexes 2003 19,0% 12,7% ~ 11,2% 14,2%
Entrées dans multiplexes 2003 Admissions in multiplexes 2003 31,8% 40,6% ~ 20,3% ~
PDM films nationaux 2004 Share national films 2004 24% est. 17% 4%(1) est. 15% 23%
(1) 2003

Sources: DFI/FFF/HI/NFF/SFI/OBS

0
15
25
30
35
40
20
10
5
9 4 9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4 (prov.)
16
11
17
28
23
25
21
27

36
38

32
34

1213 13

20
17 17

19 19
19

18
16

8 8
9

11
13

18
15

10 10
7

13
17
10

2 2 2 2
4 4 4

9
67

SE
DK
NO
FI
IS

Nombre de films produits dans les pays nordiques | 1994-2004
Number of feature films produced in Nordic countries | 1994-2004

Sources: SFI, F&K, DFI, FFF, HI

0
20
10
5
15

1,2 1,2 1,4 1,5 1,5 1,5 1,5
1,6 1,6 1,6

5,6 5,3 5,5
5,9

6,4
7,1 7,1

6,5
7,7 7,9

6,9

10,3
8,9

9,9
10,8 11 10,9 10,7

11,9

12,9

12,3

12,8

10,9 10,9
11,5 10,9

11,5 11,4 11,6
12,5

12,0 12,0

13,1

15,9
15,2 15,2 15,2

15,8 16,0

17,0

18,1 18,3 18,2

16,6
9 4 9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4 (prov.)
SE
DK
NO
FI
IS

Entrées dans les pays nordiques | 1994-2004
Admissions in Nordic countries | 1994-2004

En millions. | In millions.
42

Pays nordiques | Nordic countries
43

Les 20 films nordiques ayant réalisé le plus d’entrées
en Europe et aux Etats-Unis | 1996-2004
Top 20 Nordic films by admissions in Europe
and the United States | 1996-2004

Titre original Nationalité Réalisateur Entrées EUR + US (1)
Title Nationality Director Admissions EUR + US (1)

1 Dancer in the Dark DK / FR / SE / DE… Lars von Trier 4 348 252
2 Breaking the Waves DK / SE / FR / NL….. Lars von Trier 3 835 373
3 Italiensk for begyndere DK Lone Scherfig 2 978 322
4 Festen DK Thomas Vinterberg 2 405 869
5 Dogville DK / FR / SE / NL ….. Lars von Trier 2 247 018
6 Mies vailla menneisyyttä FI / DE / FR Aki Kaurismäki 2 084 921
7 Hjælp, jeg er en fisk DK / DE / IE Stefan Fjeldmark, Michael Hegner 2 072

381

8 Pettson och Findus – katten och gubbens år SE / DE Albert Hanan Kaminski 1 626 523
9 Tillsammans SE / DK / IT Lukas Moodysson 1 594 884
10 Pippi Långstrump SE / CA / DE Michael Schaack, Bill Giggie 1 468 775
11 Fucking Åmål SE Lukas Moodysson 1 268 392
12 Elling NO Petter Næss 986 867
13 Pettson och Findus – Kattonauten SE / DE Albert Hanan Kaminski 979 035
14 Pippi i Söderhavet SE / DE Paul Riley 831 683
15 Idioterne DK Lars von Trier 715 314
16 Mifunes sidste Sang DK / SE Søren Kragh-Jacobsen 704 417
17 Jalla! Jalla! SE Josef Fares 692 669
18 Kopps SE / DK Josef Fares 652 347
19 Olsen-bandens sidste stik DK Tom Hedegaard, Morten Arnfred 565 067
20 Trolösa SE / IT / DE / NO Liv Ullmann 525 127
(1) A l’exclusion des entrées sur le marché national. | Excluding admissions on the national market.

Source : OBS / LUMIERE

Les 20 films ayant réalisé le plus d’entrées
au Danemark, en Finlande, en Norvège et en Suède | 2004
Top 20 films by admissions in Denmark, Finland, Norway and Sweden | 2004

Titre original Entrées
Original title Admissions

DK FI NO(2) SE Total
1 Harry Potter and the Prisoner of Azkaban 629 262 343 073 589 470 712 578 2 274 383
2 The Lord of the Rings: The Return… (1) 544 000 328 240 902 039 1 774 279
3 Shrek 2 461 853 207 206 614 937 419 449 1 703 445
4 Brother Bear 486 140 269 243 320 488 611 526 1 687 397
5 Spider-Man 2 347 442 229 207 379 373 495 162 1 451 184
6 Troy 370 184 179 897 272 990 428 514 1 251 585
7 The Day After Tomorrow 279 265 228 465 304 671 429 425 1 241 826
8 Så som i himmelen 1 158 415 1 158 415
9 The Incredibles 276 162 151 000 240 349 388 330 1 055 841

10 Bridget Jones: The Edge of Reason 220 227 163 656 263 888 294 360 942 131
11 Garfield 252 692 123 979 202 480 279 273 858 424
12 The Last Samurai 198 280 94 589 220 505 286 307 799 681
13 King Arthur 168 139 100 023 165 437 352 383 785 982
14 Home on the Range 132 288 160 947 171 858 254 047 719 140
15 Something’s Gotta Give 249 941 51 855 191 052 150 043 642 891
16 The Passion of Christ 153 054 85 630 164 598 190 149 593 431
17 I, Robot 140 731 49 303 132 247 222 436 544 717
18 The Village 70 483 76 415 140 878 249 808 537 584
19 Fahrenheit 9/11 152 949 83 675 156 626 143 000 536

250

20 Lost in Translation 123 070 104 181 99 565 187 571 514 387

(1) DK 2003: 6 594 748, FI 2003: 355 739, NO 2003: 544 971, SE 2003: 934 532.
(2) Les données disponibles concernent uniquement les films sortis en 2004. | Data available covers films released in 2004 only.

Sources: DFI, FFF, NFF, SFI

Europe centrale et orientale | Central and South-Eastern Europe
Bulgarie Rép. tchèque Croatie Hongrie
Bulgaria Czech Republic Croatia Hungary

BG CZ HR HU
Habitants 2003 (millions) Inhabitants 2003 (millions) 7,9 10,2 4,4 9,9
PIB 2003 (milliards USD) GDP 2003 (USD billion) 20 85 29 83
Ecrans 2004 Screens 2004 80 756 (1) 142 (1) 510
Entrées 2004 (millions) Admissions 2004 (millions) 3,1 12,0 2,3 (1)

13,7

Entrées/habitant 2004 Admissions/Inhabitant 2004 0,4 1,2 0,5 (1) 1,4

Pologne Roumanie Slovénie Slovaquie Turquie
Poland Romania Slovenia Slovakia Turkey

PL RO SI SK TR
Habitants 2003 (millions) Inhabitants 2003 (millions) 38,6 22,3 2,0 5,4 71,3
PIB 2003 (milliards USD) GDP 2003 (USD billion) 209 57 28 33 240
Ecrans 2004 Screens 2004 880 183 111 265 (1) 1059 (1)

Entrées 2004 (millions) Admissions 2004 (millions) 33,4 4 3 2,9

29,7

Entrées/habitant 2004 Admissions/Inhabitant 2004 0,9 0,2 1,5 (1) 0,5 0,4

Source: OBS
0
25
30
35
40
20
15
10
5
9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4 (prov.)
20
17
16
0
29
21
15
0
22
20
17
8
24
22
19
9
24
20
14
8
21
16
11

5
4
2

22
13
11
5
25
21
16
3
23
12
5
17
6
20
37

HU
TR
PL
CZ
RO
SI
BG
SK
HR

Nombre de films de long métrage produits en Europe centrale et orientale | 1995-2004
Number of feature films produced in Central and South-Eastern Europe | 1995-2004

Source: OBS
0
35
20
15
10
5
30

22,2

16,6

13,5

14,0 13,8

16,6
14,6 14,4 14,3

15,7 15,3
13,7

12,0
10,7

10,4
8,78,49,2

9,8

9,09,3

22,2

21,0 23,9

25,3

28,2

23,5

4,6

12,6

9,5
6,8 4,2

5,1 5,7 5,3
4,0

21,4
23,7

19,9

26,6

18,7

26,2

25,9
9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 4 (prov.)0 3
29,7

23,8

33,4
13,7

12,1

4,5

PL
TR
HU
CZ
RO
BG
SI
SK
HR

Fréquentation des salles de cinéma en Europe centrale et orientale | 1995-2004
Admissions in Central and South-Eastern Europe | 1995-2004

(1) 2003

Fédération de Russie | Russian Federation
Parts de marché | Market shares 2004

est.

Source: Double-D / Russian FilmBusiness

0
400
200
100
300

13,53 11,64 14,01
24,92

14,83

112

233,40

9 6 9 89 4 0 4 (prov.)0 20 0

0
50
250
200
150
100

389,7

75,442
47,67

36,22 37,63
6042,77 65

36,01

191,20

Recettes brutes (Milllions USD)
Gross box office (USD million)
Entrées (Millions)
Admissions (Million)

Entrées et recettes brutes des salles dans la Fédération de Russie | 1994-2004
Admissions and gross box office in the Russian Federation | 1994-2004

Habitants 2003 (millions) 143,3 Inhabitants 2003 (million)
1 USD (avril 2005) 27,86 RUR 1 USD (April 2005)
Recettes 2004 (millions USD) 233,4 Box office 2004 (USD million)
Prix moyen du billet 2004 Average ticket price 2004
– moyenne nationale 3,25 USD est – national average

Cinémas urbains 2003 1 450 est Cinemas (urban) 2003
Ecrans “modernes” 2004 700 est “Modern“ screens 2004

Autres
Others

7,0%

National
National

12,0%

US | US
81%

Les 20 films ayant réalisé les meilleures recettes
en Fédération de Russie et C.E.I. | 2004
Top 20 films by box office receipts in
the Russian Federation and C.I.S. | 2004

Titre original Distributeur Recettes en USD
Original title Distributor Box Office in USD

1 Nochnoi Dozor (Night Watch) Gemini 16 025 000
2 Lord of the Rings: The Return of the King Caro Premier 14 085 000
3 Troy Caro Premier 12 305 000
4 The Day After Tomorrow Gemini 9 960 000
5 Spider Man 2 Cascade 9 325 000
6 Van Helsing Central Partnership 8 175 000
7 Harry Potter and the Prisoner of Azkaban Caro Premier 7 800 000
8 I, Robot Gemini 6 010 000
9 King Arthur Cascade 5 820 000

10 Shrek 2 UIP 5 750 000
11 Shark Tale East-West 5 500 000
12 The Last Samurai Caro Premier 4 730 000
13 AVP: Alien vs. Predator Gemini 4 050 000
14 Finding Nemo Cascade 3 820 000
15 Scary Movie 3 West 3 710 000
16 The Passion of Christ Central Partnership 3 550 000
17 The Chronicles of Riddick Paradise 3 310 000
18 Kill Bill Vol. 1 West 3 120 000
19 Kill Bill Vol. 2 West 3 080 000
20 Master and Commander: The Far Side of the World Gemini 3 010 000

Sources : Russian FilmBusiness / OBS

Asie | Asia

Chine Corée du Sud Hong Kong Inde
China South Korea Hong Kong India

Habitants 2003 (millions) Inhabitants 2003 (millions) 1 304,2 47,7 7,1 1 065
PIB 2003 (milliards USD) GDP (USD billion) 2003 1 412 605 157 595
Entrées 2003 (millions) Admissions 2003 (millions) 117,0 132,0(1) 17,5 3 420
Entrées/habitant 2003 Admissions/Inhabitant 2003 0,1 2,8 2,5 3,2

Malaisie Philippines Singapour Thaïlande
Malaysia Philippines Singapore Thailand

Habitants 2003 (millions) Inhabitants 2003 (millions) 24,4 80,0 4,3 62,8
PIB 2003 (milliards USD) GDP (USD billion) 2003 103 79 91 143
Entrées 2003 (millions) Admissions 2003 (millions) 11,6 80,0 14,6 32,0
Entrées/habitant 2003 Admissions/Inhabitant 2003 0,5 1,0 3,4 0,5

(1) 2004

Nombre de salles de cinéma en Asie | 1998-2004
Cinema screens in Asia | 1998-2004

prov.
1998 1999 2000 2001 2002 2003 2004

Chine (1) China (1) 65 000 65 000 65 500 65 500 65 500 42 000 42 400
Corée du Sud South Korea 528 507 720 818 977 1 130 1 400
Hong Kong Hong Kong 185 189 178 175 184 188 ~
Inde India 13 000 12 900 13 400 11 962 11 000 11 000 ~
Indonésie Indonesia 2 100 2 100 2 050 2 000 850 ~ ~
Iran Iran 285 285 280 280 311 310 ~
Japon Japan 1 993 2 221 2 524 2 585 2 635 2 681 2 825
Malaisie Malaysia 310 310 310 300 295 305 ~
Philippines Philippines 950 950 950 940 900 870 ~
Singapour Singapore 133 144 144 131 158 156 ~
Taiwan Taiwan 672 673 680 690 669 684 ~
Thaïlande Thailand 360 375 390 395 465 495 ~
(1) Y compris les unités de projection ruraux. | Includes rural projection venues.

Sources: Screen Digest / EIREN / SARFT / Variety

Les 20 films asiatiques ayant réalisé les meilleures entrées en Europe | 1996-2004
Top 20 Asian films by admissions in Europe | 1996-2004

Titre original Titre alternatif Nationalité
Original title Alternative title Nationality

1 Pokémon the First Movie: Mewtwo Strikes Back JP / US
2 Wo hu cang long Crouching Tiger, Hidden Dragon TW / CN / HK / US
3 Pokémon: The Movie 2000 JP / US
4 Fainaru fantaji Final Fantasy JP / US
5 Ying xiong Hero CN / HK/ AU
6 Sen to Chihiro no kamikakushi Spirited Away JP / US
7 Pocket Monster: Kesshôtô no teiô Pokémon 3 JP / US
8 Fa yeung nin wa In the Mood for Love HK / FR
9 Ong-bak TH

10 Digimon: The Movie JP / US
11 Shi mian mai fu The House of Flying Daggers CN / HK
12 Jing cha gu shi iv: jian dan ren wu First Strike HK / US
13 Jian gui The Eye HK / SG / TH / GB
14 Tenkû no shiro Rapyuta Castle in the Sky JP
15 Siu lam juk kau Shaolin Soccer HK / US
16 Hong Faan Kui Rumble in the Bronx HK / CA
17 Mononoke-hime Princess Mononoke JP
18 2046 HK / FR / DE
19 Yatgo ho yan Mr. Nice Guy HK
20 Bom yeoreum gaeul gyeoul geurigo bom Spring, Summer, Autumn… KR / DE

Asie | Asia

Source: Screen Digest/EIREN/KOFIC

0
90
180
120
150
60
30

48,4 45,1 42,3
47,5 45,8

54,7

64,6

89,4

105,1

110
117

119,5

132

120,3

137,7

120
105

82,5 82 80 78 80

123

130
140

125
121 125

115
120

119,8

131

140,7
153

144,7
135,4

163,3 160,8 162,4
170,1

9 4 9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 4 (prov.)0 3

Japon | Japan

Corée du Sud | South Korea

Fréquentation des salles de cinéma en Asie | 1993-2003
Admissions in Asia | 1993-2003

En millions. | In millions.

Année Réalisateur Entrées est.
Year Director Admissions est.
1999 Michael Haigney & Kunihiko Yuyama 12 681 738
2000 Ang Lee 9 397 803
2000 Michael Haigney 5 764 232
2001 Hironobu Sakaguchi & Moto Sakakibara 5 749 587
2002 Yimou Zhang 3 720 038
2001 Hayao Miyazaki 2 724 856
2001 Michael Haigney & Kunihiko Yuyama 2 021 634
2000 Wong Kar-Wai 1 909 061
2003 Prachya Pinkaew 1 466 150
2000 Mamoru Hosoda & Minoru Hosoda 1 328 301
2004 Yimou Zhang 1 024 100
1996 Stanley Tong 994 264
2002 Oxide Pang Chun & Danny Pang 987 999
1986 Hayao Miyazaki 921 136
2001 Stephen Chow 904 569
1995 Stanley Tong 827 503
1997 Hayao Miyazaki 781 170
2004 Kar Wai Wong 768 330
1997 Sammo Hung Kam-Bo 715 999
2003 Ki-Duk Kim 649 363

Sources: OBS/LUMIERE

République populaire de Chine | People’s Republic of China
Habitants 2003 (millions) 1 304 Inhabitants 2003 (millions)
PIB 2003 (milliards USD) 1 412 GDP 2003 (USD billion)
1 USD (avril 2005) 8,29 CNY 1USD (April 2005)
Entrées 2003 (millions) 117 est Admissions 2003 (millions)
Entrées moyennes/hab. 2003 0,1 Average admissions/inhab. 2003
Prix moyen du billet 2003 8,55 CNY (=1,03 USD) Average ticket price 2003
Ecrans modernes 2004 2 396 est Modern screens 2004
Ecrans numériques 2004 146 Digital screens 2004

Source: Screen Digest

100
50
150
200
100

250200

140
180
160
120

9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 40 3

0
140

125 125

115
120
110
121

203,4
187,5 194,1

203,8
194,5

77,3

109,9

17,3

120,8

182,0

Entrées et recettes brutes des salles | 1996-2004
Admissions and gross box office | 1996-2004

En 2004, les statistiques de l’Administration chinoise
pour la radio, le cinéma et la télévision (SARFT) ont recensé
40 000 centres ruraux de projection en Chine, ainsi que
1 188 cinémas modernes dotés de 2 396 salles. Les infra-
structures de projection se transforment à grand pas, par le
biais de la construction de nouveaux multiplexes et grâce
aux initiatives du gouvernement visant à promouvoir la
technologie de projection en numérique haut de gamme.
Les réformes législatives permettant aux entreprises étran-
gères d’investir dans des joint-ventures pour la construction
de cinémas dans les plus grandes villes du pays ont été rapi-
dement mises à profit par la Warner qui, lors des années à
venir, participera à la réalisation de 50 nouveaux cinémas.

Les recettes du box office chinois ont augmenté rapi-
dement en 2004, pour atteindre un montant estimé à 1,57
milliards de yuans (182 millions USD), soit une augmenta-
tion de 50 % par rapport à l’année précédente. Le film
ayant rapporté le plus gros chiffre d’affaires, Shi mian mai fu
(House of Flying Daggers), est une production locale qui a
totalisé des recettes estimées à 150 millions de yuans sur
le marché national et dont les recettes à l’étranger s’élè-
vent à environ 400 millions de yuans. Les films chinois ont
atteint une part totale de marché de 55 % (45 % en 2002)
et le nombre de productions nationales distribuées est passé
à 212 contre 140 en 2003.

Sources : SARFT, Screen Digest

Data from the State Administration of Radio, Film
and Television (SARFT) shows that there were 40,000
rural projection venues in China in 2004, together with
1,188 modern cinemas housing 2,396 screens. The
Chinese exhibition infrastructure is undergoing rapid
transformation, through the construction of new mul-
tiplex venues but also on the foot of government ini-
tiatives to encourage the adoption of high-end digital
projection technology. Legislative reforms that permit
foreign companies to invest in joint ventures for cinema
construction in major cities have been rapidly availed of
by Warner, who will participate in the construction of
50 new cinemas over the next few years.

Chinese box office receipts grew rapidly in 2004,
reaching an estimated 1.57 billion yuan (182 million
USD), a 50% increase on the preceding year. The
highest earning film was locally produced Shi mian mai
fu (House of Flying Daggers), which earned estimated
receipts of 150 million yuan on the home market and
approximately 400 million yuan abroad. Overall market
share for Chinese films reached 55% (45% in 2002)
and the number of local productions released increased
to 212, up from 140 in 2003.

Sources: SARFT, Screen Digest

Recettes brutes (Millions USD)
Gross box office (USD million)
Entrées (Millions)
Admissions (Millions)

National
National

55%

Autres
Others
45%

Parts de marché recettes | Market
shares of GBO 2004 est.

Inde | India
Films étrangers distribués par origine
| Origin of foreign films in distribution

2003

Habitants 2003 (millions) 1 065 Inhabitants 2003 (millions)
PIB 2003 (milliards USD) 595 GDP 2003 (USD billion)
1 USD (avril 2005) 43,66 INR 1USD (April 2005)
Entrées 2003 (millions) 3 420 est Admissions 2003 (millions)
Entrées moyennes/hab. 2003 3,2 Average admissions/inhab. 2003
Prix moyen du billet 2003 8,76 INR (=0,19 USD) Average ticket price 2003
Ecrans 2003 11 000 est Screens 2003
Ecrans dans multiplexes 2002 0,80% Screens in multiplexes 2002

US
70%

HK : 12%

Autres | Others
2%

Source: Central Board of Film Certification

0
1 000
1 200
800
400
200
600
683

139
191 180

203
252 248

697 693
764

855

1 013
943

9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3

877

290 282

Longs métrages indiens
Indian features
Longs métrages étrangers
Foreign features

Nombre de films ayant obtenu un visa | 1996-2003
Number of feature films certified | 1996-2003

Titre Pays d’origine (2) Année Réalisateur Recettes (3)

Title Country of origin (2) Year Director Box office (3)

1 Veer Zaara IN (Hindi) 2004 Yash Chopra 39,71
2 Main Hoon Na IN (Hindi) 2004 Farah Khan 34,47
3 Dhoom IN (Hindi) 2004 Sanjay Gadhvi 32,55
4 Lakshya IN (Hindi) 2004 Farhan Akhtar 28,75
5 Mujhse Shaadi Karogi IN (Hindi) 2004 David Dhawan 28,11
6 Khakee IN (Hindi) 2004 Rajkumar Santoshi 27,97
7 Hum Tum IN (Hindi) 2004 Kunal Kohli 22,60
8 Masti IN (Hindi) 2004 Iqbal Channa 22,18
9 Hulchul IN (Hindi) 2004 Priyadarshan 21,34

10 Swades (1) IN (Hindi) 2004 Ashutosh Guwarikor 17,42
11 Aitraaz IN (Hindi) 2004 A. & M. Alibhai Burmawalla 15,98
12 Murder IN (Hindi) 2004 Anurag Basu 14,28
13 Yuva IN (Hindi/Bangla) 2004 Mani Ratnam 14,26
14 Deewar IN (Hindi) 2004 Milan Luthria 13,46
15 Garv IN (Hindi) 2004 Puneet Issar 12,40
16 Musafir IN (Hindi) 2004 Sanjay Gupta 11,62
17 Spider-Man 2 US (Hindi) 2004 Sam Raimi 10,83
18 Ab Tumhare Hawale Watan Sathiyo (1) IN (Hindi) 2004 Anil Sharma 10,60
19 Fida IN (Hindi) 2004 Ken Ghosh 10,09
20 Aan IN (Hindi) 2004 Madhur Bhandarkar 9,71
(1) Toujours en distribution en 2005, recettes 2004 uniquement. | Still on release in 2005, 2004 gross only.
(2) Entre parenthèses : langue d’exploitation. | In brackets: playing language.
(3) En INR crore. 1 crore = 10 millions INR. | In INR crore. 1 crore = 10 million INR. Sources: IBOS Network / OBS

Les 20 films ayant réalisé les meilleures recettes en Inde | 2004
Top 20 films by box office in India | 2004

Autres | Others
EUR : 8%

IT : 7%

Japon | Japan
Habitants 2004 (millions) 127,7 Inhabitants 2004 (millions)
PIB 2003 (milliards USD) 4 294 GDP 2003 (USD billion)
1 USD (mars 2005) 10,76 JPY 1USD (March 2005)
Entrées 2004 (millions) 170,1 Admissions 2004 (millions)
Entrées moyenne/habitant 2004 1,33 Average admissions/inhab. 2004
Prix moyen du billet 2004 1 240 JPY (=11,5 USD) Average ticket price 2004
Ecrans 2004 2 825 Screens 2004

National
National

37,5%

Autres
Others
62,5%

Parts de marché | Market shares 2004

Source: MPPAJ (Eiren)

0
200
400
500
600
700
800
300
100

251
289 279 278

249 270
282 281 293 287

310

553
610 598 611

555 568

644 630 640 622
649

302 321 319
333

306 298
362

281
347 335 339

9 4 9 69 5 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4

Total
Films étrangers | Foreign films
National

Nombre de nouveaux films distribués au Japon | 1994-2004
Number of new releases in Japan | 1994-2004

Source: MPPAJ (Eiren)
120
140
200
180
160
100
120
140
160
180

200220

153,6
157,9

177,2

193,5

148,8

182,8

170,9

200,2
196,8

203,3

210,9

123,0
127,0

119,8
140,7

153,1

144,7
135,4

163,3 160,8 162,3
170,1

9 4 9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4
Entrées et recettes brutes des salles | 1994-2004
Admissions and gross box office | 1994-2004
50

Entrées (Millions)
Admissions (Millions)
Recettes brutes (Milliards JPY)
Box office (JPY billion)

Japon | Japan

Les 15 films ayant réalisé les meilleures recettes au Japon | 2004
Top 15 films by gross box office in Japan | 2004

Milliards JPY. | JPY billion.

Titre Pays d’origine Recettes brutes
Title Country of origin Gross box office

1 Hauru no ugoku shiro / Howl’s Moving Castle JP 20,00
2 The Last Samurai US/NZ/JP 13,70
3 Harry Potter and the Prisoner of Azkaban US/GB 13,50
4 Finding Nemo US 11,00
5 Lord of the Rings: Return of the King US/NZ/DE 10,32
6 Sekai no chûshin de, ai wo sakebu / Crying Out Love, JP 8,50

in the Centre of the World
7 Spider-Man 2 US 6,70
8 The Day After Tomorrow US 5,20
9 Ima, ai ni ikimasu / Be With You JP 4,80

10 Pocket Monsters 2004: Advanced Generation JP 4,38
11 Troy US/GB/MT 4,20
12 I, Robot US 3,75
13 The Haunted Mansion US 3,40
14 Doraemon the Movie: 25th Anniversary JP 3,05
15 Van Helsing US/CZ 2,80

Source: MPPAJ (Eiren)

Evolution de la répartition des recettes
entre films nationaux et films étrangers | 1994-2004
Breakdown of revenues between national
and foreign films | 1994-2004

Milliards JPY. | JPY billion.
Source: MPPAJ (Eiren)

0
200
250
150
50
100

9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 49 59 4

Films étrangers
Foreign films
Films nationaux
National films

Corée du Sud | South Korea
Habitants 2004 (millions) 48,082 Inhabitants 2004 (millions)
PIB 2003 (milliards USD) 605 GDP 2003 (USD billion)
1 USD (mars 2005) 1 025 KRW 1USD (Mars 2005)
Entrées 2004 (millions) 132 est Admissions 2004 (millions)
Entrées moyennes/hab. 2004 2,75 Average admissions/inhab. 2004
Prix moyen du billet 2004 6 370 KRW (= 6,21 USD) Average ticket price 2004
Ecrans 2004 1 400 est Screens 2004
Ecrans dans multiplexes 2002 21% Screens in multiplexes 2002

National
National

54,2%

Autres
Others
4,6

US | US
41,2%

Parts de marché 2004 (Séoul)
| Market shares 2004 (Seoul)

Source: KOFIC

30 0

2 000
3 000
1 000
4 000
5 000
8 000
6 000
7 000

9 000150

60
90
120

8 408

1 883 1 925
2 028

2 384 2 584
2 862

3 460

5 237

6 327

7 171

9 4 9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 2 0 3 0 4 (prov.)

48,4
45,1

42,2
47,5

50,2
54,7

64,6
89,4
105,1
119,5

132,0

Entrées et recettes brutes des salles | 1994-2004
Admissions and gross box office | 1994-2004

Entrées (Millions)
Admissions (Millions)
Recettes (Cent millions KRW)
Box office (Hundred million KRW)

Source: KOFIC
0
300
500
400
200
100

9 4 9 5 9 6 9 89 7 9 9 0 0 0 1 0 2 0 3 0 4 (prov.)

381
68

65 64

59
43 49

59 65
78 80 82

65
53

58 67
74 79 68 78

378

483
431
296

348

404

339

262 271

201

Nombre de films de long métrage produits et importés | 1994-2004
Number of feature films produced and imported | 1994-2004

Films importés
Imported films
Film importés en
distribution directe
Imported films
distributed directly
Films nationaux produits
National films produced

Corée du Sud | South Korea

La fréquentation a continué d’afficher une forte aug-
mentation en Corée du Sud en 2004, avec un nombre
d’entrées en salles estimé à 132 millions, soit une aug-
mentation de 10,5 % par rapport au total enregistré en
2003 (119,5 millions). Le début de l’année a été dominé
par l’énorme succès de deux productions nationales por-
tant sur un thème militaire, Tae Guk Gi et Silmido. En dépit
des résultats plus mitigés des films nationaux lors du der-
nier trimestre 2004, on estime que ceux-ci ont représenté
une part de marché de 57 % des entrées (53,5% en
2003). La part des films coréens et américains sur le
marché de Séoul est estimée à 95,4% ce qui laisse peu de
place aux films provenant d’autres origines.

Le succès des exportations de films coréens s’est
confirmé en 2004, avec une valeur totale en augmenta-
tion de 88 %, atteignant ainsi 58 millions USD. Cette
année, 194 films coréens ont été exportés vers 62 pays du
monde entier. Les exportations vers les pays asiatiques
voisins restent les plus importantes, en termes réels et en
termes nominaux, et ont connu un taux de croissance
important en 2004 (+ 138 %). Les exportations vers les
pays européens ont compté pour 14,1% de la valeur
totale, avec la France comme principal pays importateur
en 2004.

2004 a été l’année de l’émergence de Showbox en
tant que distributeur significatif, en grande partie grâce
au succès de Tae Guk Gi et de The Big Swindle. CJ Enter-
tainment est resté néanmoins le numéro un du marché
avec une part de 24,4% des entrées en salles à Séoul ;
en revanche, l’ex-numéro deux Cinema Service a été
relégué à la troisième place, derrière Showbox.

Source: KOFIC

Cinema attendance continued to show strong
growth in South Korea in 2004, with estimated
nationwide admissions reaching 132 million, up
10.5% on the total for 2003 (119.5 million). The
early part of the year was dominated by the out-
standing success of two military themed local films
Tae Guk Gi and Silmido, and although results for local
films in the last quarter of 2004 were more muted,
overall national market share for the year is esti-
mated at 57% of admissions (53.5% in 2003). Com-
bined Seoul market share for Korean and US films
is estimated at 95.4%, leaving scant room for films
of other origins.

Exports of Korean films continued their success
into 2004, with the total value of exports expanding
by 88% to reach 58 million USD. 194 Korean films
were exported to 62 countries worldwide during
the year. Exports to neighbouring Asian markets
remain the most important in value and nominal
terms, and showed one of the fastest rates of growth
in 2004 (+138%). Exports to European countries
represented 14.1% of the total value, with France
being the principal importing country in 2004.

2004 saw the emergence of Showbox as a major
distributor, principally due to the success of Tae Guk
Gi and The Big Swindle. CJ Entertainment remained
the market leader, with a share of 24.4% of Seoul
admissions as former number two Cinema Service
slipped into third place behind Showbox.

Source: KOFIC

Les 20 films ayant réalisé le plus d’entrées en Corée du Sud | 2004
Top 20 films by admissions in South Korea | 2004

Titre international Pays d’origine Année Réalisateur Entrées
International title Country of origin Year Director Admissions

1 Tae Guk Gi KR 2004 Je-gyu Kang 11 746 135
2 Silmido (1) KR 2003 Woo-Suk Kang 11 081 000
3 Lord of the Rings: Return of the King (1) US/NZ/DE 2003 Peter Jackson 5 960 000
4 Troy US/GB/MT 2004 Wolfgang Petersen 3 851 000
5 Shrek 2 US 2004 A. Adamson & K. Asbury 3 300 533
6 Old Boy KR 2003 Chan-wook Park 3 269 000
7 My Little Bride KR 2004 Ho-joon Kim 3 149 500
8 Spirit of Jeet Kune Do: KR 2004 Ha Yu 3 115 767

Once Upon a Time in High School
9 The Day After Tomorrow US 2004 Roland Emmerich 3 006 400

10 Ghost House KR 2004 Kim Sang-jin 2 890 000
11 A Moment to Remember KR 2004 Lee Jae-han 2 565 078
12 Harry Potter and the Prisoner of Azkaban US/GB 2004 Alfonso Cuaron 2 532 000
13 The Passion of Christ US 2004 Mel Gibson 2 523 700
14 My Brother KR 2004 Ahn Kwon-tae 2 479 585
15 Spider-Man 2 US 2004 Sam Raimi 2 367 704
16 Fighter in the Wind KR 2004 Yang Yoon-ho 2 346 446
17 The Big Swindle KR 2004 Park Sin-yang 2 129 358
18 Arahan KR 2004 Ryoo Seung-wan 2 050 000
19 To Catch a Virgin Ghost (Sisily 2km) KR 2004 Sin Jeong-won 1 987 380
20 The President’s Barber KR 2004 Chan-sang Lim 1 972 377
(1) Entrées cumulées depuis décembre 2003. | Cumulative admissions since December 2003. Source: KOFIC / Distributors

Afrique – Moyen-Orient | Africa – Middle East

Burkina Faso Bénin Egypte Israël Iran Liban

Burkina Faso Benin Egypt Israel Iran Lebanon
BF BJ EG IL IR LB

Habitants 2003 (millions) Inhabitants 2003 (millions) 13,0 6,7 71,9 6,4 68,9 3,7
PIB 2003 (milliards USD) GDP 2003 (USD billion) 4,3 2,8(2) 67,5 110,,2 135,0(2) ~
Ecrans 2004 Screens 2004 19 7(2) 215(3) 325 310(3) 86
Entrées 2004 (millions) est. Admissions 2004 (millions) est. 1,5(1) 0,06(1) 24,0(3) 10,0 8,0(2) 2,6
Entrées/habitant 2004 est. Admissions/Inhabitant 2004 est. 0,1(1) 0,0(1) 0,3(3) 1,6 0,1(2) ~

Maroc Mali Sénégal Tunisie Afr. Sud
Morocco Mali Senegal Tunisia South Afr.

MA ML SN TN ZA
Habitants 2003 (millions) Inhabitants 2003 (millions) 30,6 13,0 10,1 9,83 45,0
PIB 2003 (milliards USD) GDP 2003 (USD billion) 43,7 3,4(2) 5,1(2) 25,0 159,6
Ecrans 2004 Screens 2004 143 11 22(2) 36 756(3)
Entrées 2004 (millions) est. Admissions 2004 (millions) est. 6,0 ~ 0,8(1) ~ 25,1(3)
Entrées/habitant 2004 est. Admissions/Inhabitant 2004 est. 0,2 ~ 0,1(1) ~ 0,6(3)

(1) 2001 (2) 2002 (3) 2003

Sources: Cahiers du cinéma / SD / CNPC (ML) / DCN (BF) / EFC (EG)

0
80
60
40
20

9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 4 (prov.)0 30 2

62
63

9
9 9

24
21

2020

30
48

13
158

60 55

60
65

70
56
33
30
18

8 10

IR
EG
IL
MA
ZA
TN
LB
CM
DZ
ML
BF

Nombre de films de long métrage produits en Afrique et au Moyen-Orient | 1995-2004
Number of feature films produced in Africa and the Middle East | 1995-2004

5
30
35
25
20
10
15
9 5 9 6 9 7 9 8 9 9 0 0 0 1 0 4 (prov.)0 30 2

28,6

17,3

10,7 10,6

12,4

21,5
23,4

15,8 16,0

17,7

21,4 21,4
22,3

24,1 24,0

10,9
11,0 10,9 10,9

12,0 12,0

9,8 10,5 9,2

9,7 10,0

16,3
15,5

11,7
10,7

8,4
6,6

29,0 29,3
29,6

31,0

28,0

24,1 24,7
25,1 ZA

EG
KE
LB
IL
MA

Fréquentation des salles en Afrique et au Moyen-Orient | 1995-2004
Admissions in Africa and the Middle East | 1995-2004

Y compris les coproductions.
Including co-productions.

Données pour la période 1996-
1998 estimées pour plusieurs pays.
1996-1998 data estimated for a
number of countries.

En millions. | In millions.Sources: SD / UNESCO / Cahiers du cinéma / CCM (MA) / IFF (IL)

Afrique – Moyen-Orient | Africa – Middle East

Les 20 films d’Afrique et du Moyen-Orient ayant réalisé
les meilleures entrées en Europe | 1996-2004
Top 20 African and Middle Eastern films
by admissions in Europe | 1996-2004

Titre Nationalité Année Réalisateur Entrées
Title Nationality Year Director Admissions

1 Safar e Ghandehar (Kandahar) IR / FR 2001 Mohsen Makhmalbaf 1 387 019
2 Al-massir (Destiny) EG / FR 1997 Youssef Chahine 610 908
3 Dayereh (Le cercle) IR / IT 2000 Jafar Panahi 568 111
4 Kadosh IL / FR 1999 Amos Gitaï 480 872
5 Yadon ilaheyya (Intervention divine) PS / FR / DE / MA 2001 Elia Suleiman 474 053
6 Ta’m e guilass (The Taste of Cherries) IR / FR 1997 Abbas Kiarostami 354 543
7 Bad ma ra khabad… (The Wind Will Carry Us) IR / FR 1999 Abbas Kiarostami 320 364
8 Little Senegal DZ / FR / DE 2001 Rachid Bouchareb 307 481
9 Takhté siah (Le tableau noir) IR / IT / JP 2000 Samira Makhmalbaf 263 253

10 Zamani barayé… (A Time for Drunken Horses) IR / FR 2000 Bahman Ghobadi 247 895
11 The Season of Men TN / FR 2000 Moufida Tlatli 229 679
12 Un été à La Goulette TN / FR / BE 1995 Férid Boughedir 179 755
13 Panj é asr (At Five in the Afternoon) IR / FR 2003 Samira Makhmalbaf 173 731
14 Mr Bones ZA 2001 Gray Hofmeyr 167 238
15 10 IR / FR 2002 Abbas Kiarostami 150 134
16 Rang-e khoda (The Colour of Paradise) IR 1999 Majid Majidi 148 990
17 Les contes de la mère Poule IR 2001 M.A. Sarkani & F. Torabi 144 538
18 Rachida DZ / FR 2002 Yamina Bachir 130 429
19 Kippur IL / FR 2000 Amos Gitai 123 503
20 Gabbeh IR / FR 1996 Mohsen Makhmalbaf 103 431

Source: OBS/LUMIERE
55

IR
52,4%

IL
11,4%

GW
0,1%

EG
8,0%

DZ
7,1%

CM
0,2%

BF
0,2% Others

0,2%
SN

0,5%
TN

6,0%

PS
5,7%ML

0,2%
MA

3,0%
LB

1,5%

ZA
3,4%

Répartition par origine des entrées des films
africains et du Moyen-Orient en Europe | 1996-2004
Breakdown by origin of admissions to African
and Middle Eastern films in Europe | 1996-2004

CM – Cameroon, DZ – Algeria, GW – Guinea Bissau. Source: OBS/LUMIERE

Sources
Sources

Cette brochure a été réalisée par l’Observatoire euro-
péen de l’audiovisuel à partir des sources suivantes, que
nous tenons à remercier :

This brochure, prepared by the European Audiovisual
Observatory, has been made possible thanks to the fol-
lowing sources:

ANICA IT http://www.anica.it
Audiovisual Information Centre SK http://www.aic.sk/
Australian Film Commission AU http://www.afc.gov.au./
CAA GB/IE http://www.carltonscreen.com/htm/research.php
Canadian Audio-visual Certification Office CA http://www.pch.gc.ca/progs/ac-ca/progs/bcpac-cavco/index_e.cfm
Central Board of Film Certification IN http://www.cbfcindia.tn.nic.in/default.htm
Centrul National al Cinematografiei RO http://www.cncinema.abt.ro/index.aspx
Centre national de l’audiovisuel LU http://www.cna.public.lu/
CFTPA CA http://www.cftpa.ca/
Cinetel IT http://www.cinetel.org/
CNC FR http://www.cnc.fr
Czech Film Center CZ http://www.filmcenter.cz
Danish Film Institute DK http://www.dfi.dk/
D&S MediaService Programme MEDIA Plus http://www.d-and-s.com/
Double-D RU vengern@rinet.ru
EIREN JP http://www.eiren.org
Estonian Film Foundation EE http://www.efsa.ee/
Fachverband der Audiovisions- und Filmindustrie AT http://www.fafo.at/
FFA DE http://www.ffa.de
FilmeB BR http://www.filmeb.com.br
Film & Kino NO http://www.filmweb.no/filmogkino/
Filmski Sklad Republike Slovenije SI http://www.film-sklad.si/slo/
Finnish Film Foundation FI http://www.ses.fi/
Le film français FR http://www.lefilmfrancais.com/
Greek Film Center GR http://www.gfc.gr/
Hagstofa Island IS http://www.statice.is
IBOS Network IN http://ibosnetwork.com/default.asp
ICAA ES http://www.mcu.es/cine/index.html
ICAM PT http://www.icam.pt/
Korean Film Council KR http://www.kofic.or.kr
Malta Film Commission MT http://www.mfc.com.mt/home.asp?mainid=6
Media Live IE http://www.medialive.ie/
MEDIA Salles http://www.mediasalles.it
Ministry of Culture CZ http://www.mkcr.cz
Ministry of Culture PL http://www.mk.gov.pl/
Moniteur du film belge BE
MPAA US http://www.mpaa.org
National Film Office HU http://www.nemzetifilmiroda.hu
National Film Center BG
National Film Centre LV http://www.latfilma.lv/
NFC NL http://www.nfc.org/
Norsk Filmfond NO http://www.filmfondet.no/
Observatoire de la culture du Québec CA http://www.stat.gouv.qc.ca/observatoire/default.htm
Observatorio de Industrias Culturales AR http://www.buenosaires.gov.ar/areas/cultura/observatorio/
Office fédéral de la Statistique CH http://www.admin.ch/bfs
Procinéma CH http://www.procinema.ch/
Russian FilmBusiness RU http://www.kinobusiness.com/
SARFT CN http://www.sarft.gov.cn
Screen Digest GB http://www.screendigest.com/
Screen Finance GB http://www.informamedia.com
Screen International GB http://www.screendaily.com/
Sinema Gazetesi TR http://www.sinemagazetesi.com/
Slovenian Film Fund SI http://www.film-sklad.si/eng/
SPIO DE http://www.spio.de/
Statistique Canada / Statistics Canada CA http://www.statcan.ca/
Svenska Film Institutet SE http://www.sfi.se/
Unie Filmovych Distributoru CZ http://www.ufd.cz/
UK Film Council GB http://www.ukfilmcouncil.org.uk/
Variety US http://www.variety.com

Coordination scientifique | Scientific editor: Susan Newman, susan.newman@obs.coe.int
| Analyste, Département “Informations sur les marchés et les financements”, à l’Observatoire européen de l’audiovisuel.
Analyst, Department Markets & Financing Information at the European Audiovisual Observatory.

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MARCHÉ

DU FILM 201

FOC

WORLD FILM MARKET TRENDS
TENDANCES DU MARCHÉ MONDIAL DU FILM

Observatoire européen de l’audiovisuel
European Audiovisual Observator

Europäische Audiovisuelle Informationsstelle

MARCHÉ
DU FILM

FESTIVALS
LOVES
MARCHÉ DU FILM OPENING NIGHT – 15 May
Shanghai International Film Festiv

DOC TALKS & DOC DAY – 17 to 21 May
CPH:DOX, DOK Leipzig, IDFA, Visions du Réel,
Doc Allian

FRONTIERES PLATFORM – 18 & 19 May
Fantasia International Film Festival

GOES TO CANNES – 18 to 20 May
Annecy, HAF (Hong Kong), Los Cabos, Málaga,
New Horizons’ (Poland), Thessaloniki

FANTASTIC 7 – 19 May
Bucheon, Cairo, Guadalajara, Macao, Sitges,
SXSW, Toronto

MIXER FESTIVALS – 22 May
Film Freeway

CINANDO AWARDS – 22 May
Best Emerging Festival Programmer

and more than 1300 registered programmers attending!

www.marchedufi lm.com/en/global-events

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MDFlovesFESTIVALS_MDF2019-155x240_AUTOPUB.indd 1 26/04/2019 15:50

focus 20

World Film Market Trend

Tendances du marché mondial du film

ISSN: 1962-453

Imprimé sur papier labelisé issu de forêts gérées durablement.
Printed on paper from sustainably managed forests.

Imprimé sur papier labélisé issu de forêts gérées durablement.
Printed on paper from sustainably managed forests.

Pages Pub int Focus 2010:Pub Focus 29/04/10 10:54 Page

The European Audiovisual Observatory, set up in
1992, is a public-service body whose mission is to
supply information services (concerning film, televi-
sion, home video, on demand audiovisual services
as well as related public policies) to the audiovisual
industry in Europe. The Observatory has 41 member
countries, along with the European Union represent-
ed by the European Commission. The Observatory is
part of the Council of Europe and located in Stras-
bourg, France. It carries out its mission with the help
of a network of partners, correspondents and profes-
sional organisations. The Observatory provides infor-
mation on markets, financing and legal aspects of
the audiovisual sector and edits the “FOCUS, World
Film Market Trends”.

➥

http://www.obs.coe.int

Créé en 1992, l’Observatoire européen de l’audio-
visuel est un organisme de service public qui a pour
mission de proposer des services d’information au
secteur audiovisuel en Europe (concernant le cinéma,
la télévision, la vidéo, les services audiovisuels à la
demande et les politiques publiques afférentes). Il
compte actuellement 41 Etats membres, ainsi que
l’Union européenne qui est représentée par la Com-
mission européenne. L’Observatoire fait partie du
Conseil de l’Europe et a son siège à Strasbourg en
France. Pour accomplir sa mission, il s’appuie sur un
réseau de partenaires, de correspondants et d’orga-
nisations professionnelles. L’Observatoire propose des
informations relatives aux différents marchés audio-
visuels, au financement et aux aspects juridiques du
secteur ; il édite aussi FOCUS, Tendances du marché
mondial du film.

Editors
Martin Kanzler (Martin.KANZLER@coe.int)
Patrizia Simone (Patrizia.SIMONE@coe.int)
Film Analysts, Department for Market Information, European Audiovisual Observatory

Lay-out: Acom* Media (Paris)
© 2019, Marché du Film
Printed: Global Rouge (Les Deux-Ponts)

FOCUS has now been a publication for more
than two decades and I am very proud of our long-
term relationship with the European Audiovisual
Observatory. For the last 60 years the Marché du
Film has continued to evolve, while the film industry
itself is changing dramatically at the present time.
FOCUS remains more than ever an essential refer-
ence guide for professional attendees. Not only
will it help you grasp the changing practices of
the film industry, but it also provides specific infor-
mation on production and distribution around
the world. Special thanks to Susanne Nikoltchev
and her team, with whom we have worked to
provide you with invaluable insight into the world
of film market trends.

Jérôme Paillard
Executive Director
Marché du Film

FOCUS est une publication depuis plus de
deux décennies et je suis très fier de notre rela-
tion de longue date avec l’Observatoire Européen
de l’Audiovisuel. Depuis 60 ans, le Marché du
Film a connu une évolution ininterrompue, et
l’industrie cinématographique elle-même est en
plein changement. FOCUS est une référence incon-
tournable pour les participants professionnels.
Elle vous aidera non seulement à appréhender
les pratiques en constante mutation de l’industrie
cinématographique, et vous fournira également
des informations plus spécifiques sur les secteurs
de la production et la distribution dans le monde
entier vous offrant une vue d’ensemble exhaustive
de l’industrie cinématographique. Nos remercie-
ments tous particuliers à Susanne Nikoltchev et
à son équipe, avec lesquels nous avons œuvré
dans l’espoir de vous fournir des renseignements
précieux sur les tendances du Marché du Film.

Jérôme Paillard
Directeur Délégué
Marché du Film

We are very pleased to collaborate once
again with the Marché du Film and we proudly
present the 21st edition of FOCUS – World Film
Market Trends, which provides an overview of
the development of theatrical markets world-
wide. The Observatory’s work, however, has an
even greater reach also targeting more specific
topics. For example, our most recent research into
how European films are financed and LUMIERE
VOD, our new directory of European films avail-
able via on-demand services in Europe. Get our
free analyses of the film industry on www.obs.
coe.int and discuss our findings with us at our
conferences! Our traditional Cannes conference
is next (18th May at 9:30) and will address the
issue of film financing in Europe. Come and join
us in the Olympia Cinema!

Susanne Nikoltchev
Executive Director
European Audiovisual Observatory

Nous sommes très heureux de notre nouvelle
collaboration avec le Marché du Film et fiers de
vous présenter la 21e édition du FOCUS – Tendances
du marché mondial du film, qui donne un aperçu
de la dynamique des marchés du cinéma dans le
monde. Les travaux de l’Observatoire ont cepen-
dant une portée bien plus grande en ciblant des
sujets spécifiques. Il en va ainsi de notre tout dernier
rapport sur le financement des films européens
ou encore de LUMIERE VOD, le nouveau réper-
toire sur les films européens disponibles sur les ser-
vices de VOD en Europe. Retrouvez gratuitement
nos études sur l’industrie cinématographique sur
www.obs.coe.int et venez en débattre avec nous
à l’occasion de nos conférences ! La prochaine est
celle de Cannes (18 mai à 9h30) et portera sur
le financement des films en Europe. Venez nous
rejoindre au Cinéma Olympia !

Susanne Nikoltchev
Directrice exécutive
Observatoire européen de l’audiovisuel

Editorial

LUMIERE VOD – The directory of
European fi lms available on on-demand
services in Europe
http://lumierevod.obs.coe.int

76 Allée de la Robertsau,
67000 Strasbourg,

France

Tel: +33(0)3 90 21 60 00
Email: info.obs@coe.int

http://www.obs.coe.int

Mapping of national rules
for the promotion of
European works in Europe

IRIS Plus – The promotion
of independent audiovisual
production

Fiction fi lm fi nancing
in Europe

Yearbook 2018/2019
Key Trends

IRIS MERLIN – Database on legal
information relevant to the audiovisual
sector in Europe
http://merlin.obs.coe.int

AVMSDatabase on the transposition
of the AVMS Directive into national
legislation
http://avmsd.obs.coe.int

MAVISE – Database on TV and
on-demand audiovisual services
and companies in Europe
http://mavise.obs.coe.int/

LUMIERE – Database on admissions
to fi lms released in Europe
http://lumiere.obs.coe.int

EFARN Film Research Library –
Studies and data from the European
fi lm agencies
http://fi lmresearch.eu

Free fl agship publications

Free databases

The European Audiovisual
Observatory

A varied range of information products and services

European
Audiovisual
Observatory
Audiovisual Audiovisual Audiovisual Audiovisual
Observatory Observatory Observatory

EuropeanEuropeanEuropean

EuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropean

EuropeanEuropean

Audiovisual
European
Audiovisual Audiovisual Audiovisual Audiovisual
Observatory Observatory Observatory

EuropeanEuropean

Observatory Observatory Observatory Observatory Observatory Observatory Observatory Observatory Observatory Observatory Observatory Observatory Observatory
Audiovisual
Observatory
Audiovisual Audiovisual Audiovisual
Observatory
Audiovisual
Observatory
Audiovisual Audiovisual Audiovisual Audiovisual Audiovisual
Observatory Observatory Observatory

EuropeanEuropeanEuropean

focus 2019

Introduction

World

Europe
European Union

France

Germany

Italy

Spain 2

United Kingdom

Russian Federation

Poland

Turkey

Other Western Europe

Nordic Countries

Baltics and Central Europe

South-Eastern Europe

Americas
North America

Latin America

Australia and New Zealand

Asia
China

Japan

India

South Korea

Other Asia

Africa

Middle East

Sources

Contents

www.marchedufilm.com/en/global-events

DAYS
CANNES XR
14 – 19 May – Palais -1, aisle 14

NEXT
14 – 23 May – Palais -1, aisle

ANIMATION DAY
19 May – 9:30 – Olympia 1

FANTASTIC FANATICS MIXER
19 May – 18:00 – Plages des Palmes

DOC DAY
21 May – 9:30 – Plage Gray d’Albion – 15:30 – Olympia 1

DOC LOVERS MIXER
21 May – 18:00 – Plages des Palmes

SHOOT THE BOOK
21 May – 10:30 – Palais +4, Ambassadeurs

FESTIVALS & SALES AGENTS MIXER
22 May – 18:00 – Plages des Palmes

MOST
INSPIRING

THE

MOST_INSPIRING_DAYS_MDF2019-150x240_AUTOPUB.indd 1 26/04/2019 14:31

Introduction

©
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www.marchedufilm.com/en/global-events
DAYS
CANNES XR
14 – 19 May – Palais -1, aisle 14
NEXT
14 – 23 May – Palais -1, aisle 18
ANIMATION DAY
19 May – 9:30 – Olympia 1
FANTASTIC FANATICS MIXER
19 May – 18:00 – Plages des Palmes
DOC DAY
21 May – 9:30 – Plage Gray d’Albion – 15:30 – Olympia 1
DOC LOVERS MIXER
21 May – 18:00 – Plages des Palmes
SHOOT THE BOOK
21 May – 10:30 – Palais +4, Ambassadeurs
FESTIVALS & SALES AGENTS MIXER
22 May – 18:00 – Plages des Palmes
MOST
INSPIRING
THE

MOST_INSPIRING_DAYS_MDF2019-150x240_AUTOPUB.indd 1 26/04/2019 14:

Analysing film financing

The Observatory published the first ever
analysis of over 400 European fiction film
financing plans. Key takeaways include the
diversity of the film production landscape in
terms of budgets and the influence of market
size; the variety of financing sources, with the
lead role played by direct public support; the
key role of pre-sales, especially for higher-
budget films; the widespread involvement of
broadcasters; the still limited use of private
equity and debt financing, and even more
notably the heterogeneity of national land-
scapes as regards the film financing structure.

Mapping the systems to
promote European works

One of the key factors accounting for the
differences between the film financing struc-
tures in Europe is obviously the legal frame-
work for the promotion of European films and
audio visual programmes. The Observatory
mapped the national legal frameworks for the
promotion of European works in 31 European
countries – a project entrusted to us by the
association of European Film Agencies Directors
(EFADs). The report proposes an invaluable
and detailed analysis of existing financial
investment obligations, levies and means
of promotion through quotas and promi-
nence obligations.

Assessing international
cooperation

Co-production is one of the ways to improve
the circulation of films. Figures suggest that
the number of co-productions is increasing,
that they perform better in cinemas, and
that they are more widely available, even
beyond the majority co-producing country.
The Observatory report on “The legal frame-
work for international co-productions” pro-
vides a comprehensive overview of interna-
tional funds and bilateral and multilateral
agreements as well as a checklist of points
to be included in any watertight co-produc-
tion contract.

The Observatory also provides revolving
figures on how European films get exported
– both inside and outside Europe. This year’s
analysis shows that about half of the export
admissions to European films originate from
outside Europe.

Computing VOD in the equation

Video-On-Demand is often heralded
as a game changer for the exploitation of
films – and maybe also their financing. The
Observatory tackles the issues from different
angles. We recently published a short anal-
ysis on how recent European films make it to
VOD. The conclusion was ambivalent: on the
one hand, a relatively high share (62%) of

As usual, this 2019 edition of the Film Focus provides a worldwide picture of the
production, distribution and exploitation of films. This flagship publication of
the Observatory for the Marché du Film de Cannes is one of the many ways we
provide essential and unbiased information and data on the audiovisual sector.
Some other recent film-related projects highlight our aim to contribute to better
informed decisions.

8
Introduction

Breakdown of cumulative sample financing volume
of European live-action fiction films released in 20

In %.

Financial investment obligations for public service
broadcasters in independent European works | 2019

In millions.

No obligation

Not covered

Optional (levy)

Mandatory

Optional (quota)

Source: OBS

, Mapping of national rules for the promotion
of European works in Europe (2019)

Sources: OBS, Fiction film financing in Europe:
A sample analysis of films released in 2016 (2018)

Rank Financing sources
Financing share –
full data sample

Financing share –
excluding

France

1 Direct public funding 29% 41%

2 Broadcaster investments 25% 15%

3 Pre-sales (excl. TV) 16% 11%

4 Producer investments (excl. TV) 15% 16%

5 Fiscal incentives 10% 8%

6 Debt financing 2% 3%

7 Other financing sources 1% 3%

8 Private equity cash investments 1% 1%

9 In-kind investments 0% 2%

Total sample financing volume (in M EUR) 1 411.7 679.0

European films released in cinemas is available
on VOD; but, on the other hand they are,
on average, available in only 4.7 countries.

The Observatory is also dedicated to pro-
mote transparency on the supply of films
(and TV content) through VOD services.
This year’s research reveals in particular that
European non-national films represent the
majority of European films available on VOD
– with strong variations between catalogues
and countries. The Observatory took a fur-
ther step in giving access to the composition
of the VOD catalogues with the launch of
a new online service, LUMIERE VOD – THE
EUROPEAN FILM DIRECTORY. This project,
entrusted to us and supported by the Creative
Europe Programme of the European Union,
was made possible thanks to the coopera-
tion of the VOD services themselves – both
European and US-based.

Disseminating film research

The Observatory produces its own research
but also relies on several networks of partners.
Among them is the European Film Agencies
Research Network (EFARN). The EFARN is
not only essential to the Observatory as a
network of providers of national data on
admissions to films; it is also where collabora-
tive projects (such as the one to analyse the
structure of film financing) are discussed and
carried out. To further disseminate the work
of the EFARN members, we have set up the
EFARN Film Research Library (filmresearch.
eu), a compilation of data and studies from
film agencies. We hope it will contribute to
foster exchanges on film related research.

Gilles Fontaine
Head of the Market Information Department

Martin Kanzler
Film Analyst

Patrizia Simone
Film Analyst

Introduction

World

Top 10 markets worldwide by gross box office | 2014-2018 e

In USD billion. Converted at average annual exchange rates. Ranked by 2018 values.

Top 10 markets worldwide by admissions | 2014-2018 e

In million. Ranked by 2018 admissions.

Sources: OBS, MPAA, Comscore, IHS Markit, National data sources

Sources: OBS, IHS Markit, National data sources

Rank Market 2014 2015 2016 20

2018
Annual growth rate

5 years 1 year
1 US & Canada 10.36 11.14 11.37 11.12 11.88 3.5% 6.8%
2 China 4.82 6.81 6.60 8.27 9.24 17.6% 11.7%
3 Japan 1.70 1.80 2.17 2.04 2.02 4.4% -1.2%
4 United Kingdom 1.74 1.90 1.66 1.65 1.71 -0.5% 3.7%
5 South Korea 1.49 1.37 1.45 1.60 1.65 2.6% 3.1%
6 France 1.77 1.48 1.54 1.56 1.58 -2.9% 1.1%
7 India 1.47 1.50 1.48 1.60 1.50 0.5% -6.5%
8 Germany 1.30 1.29 1.13 1.19 1.06 -4.9% -10.7%
9 Australia 0.87 0.89 0.91 0.92 0.93 1.6% 1.1%

10 Mexico 0.84 0.84 0.79 0.85 0.85 0.2% -0.6%

World total e 36.4 38.4 38.8 40.6 41.1 3.1% 1.2%

Growth rate – World 5.5% 1.0% 4.6% 1.2% 3.1% 1.2%
Growth rate – Top 10 10.1% 0.3% 5.8% 5.2% 5.3% 5.2%
Growth rate – Top

without China

3.1% 1.4% 0.1% 2.8% 1.8% 2.8%

Rank Market 2014 2015 2016 2017 2018 e
Annual growth rate e

5 years 1 year
1 India e 1 937 2 073 1 860 1 907 2 022 1.1% 6.0%
2 China 830 1 260 1 370 1 620 1 720 20.0% 6.2%
3 US & Canada 1 268 1 321 1 315 1 240 1 304 0.7% 5.2%
4 Mexico 240 286 321 338 320 7.5% -5.3%
5 South Korea 215 217 217 220 216 0.2% -1.6%
6 Russian Federation 176 174 193 212 202 3.5% -4.7%
7 France 209 205 213 209 201 -1.0% -4.0%
8 United Kingdom 157 172 168 171 177 3.0% 3.7%
9 Japan 161 167 180 175 169 1.2% -3.0%

10 Brazil 156 173 184 181 161 0.9% -11.1%

World total e 6 671 7 498 7 560 7 818 7 954 4.5% 1.7%

Growth rate – World e 2.2% 12.4% 0.8% 3.4% 1.7% 4.5% 1.7%
Growth rate – Top 10 e 8.8% 13.1% -0.4% 4.2% 3.5% 5.0% 3.5%
Growth rate – Top 10 e
without China

5.0% 5.9% -2.8% 0.0% 2.6% 1.4% 2.6%

World

Worldwide number of digital and 3D screens | 2014-2018 e

In units.

200 000

50 000

100 000

150 000

2014 2015 2016 2017 2018 Digital screens
by region 2018

2D
3D

14 017

86 5

42 8

43 4

62 6

64 7

127 4

141 050

66 4

74 5

155 0

67 893

87 1

169 274

69 635

99 6

182 019

76 8

105 196

Source: MPAA

Top 10 markets worldwide by number of screens | 2014-2018 e

In units. Ranked by 2018 values.

Sources: OBS, MPAA, IHS Markit

Latin America

Europe/Middle
East/

Africa

Asia Pacif

US/CA

Rank Market

2014 2015 2016 2017 2018

Annual growth rate

5 years 1 year
1 China 24 607 31 627 41 179 50 776 60 079 25.0% 18.3%
2 US & Canada 43 265 43 661 43 531 43 216 43 459 2.0% 0.6%
3 India 11 109 11 179 11 194 11 209 11 280 0.4% 0.6%
4 Mexico 5 678 5 977 6 225 6 633 7 024 5.5% 5.9%
5 France 5 653 5 741 5 842 5 913 5 981 1.4% 1.2%
6 Russia 3 829 4 021 4 370 4 800 5 215 8.0% 8.6%
7 Italy 5 044 5 053 5 104 5 315 5 205 0.8% -2.1%
8 Germany 4 637 4 692 4 739 4 803 4 849 1.1% 1.0%
9 UK 3 909 4 046 4 150 4 264 4 340 2.6% 1.8%

10 Spain 3 694 3 588 3 568 3 625 3 589 -0.7% -1.0%

World total 142 215 152 142 163 928 171 755 186 859 7.1% 8.8%

Growth rate – World e 7.0% 7.7% 4.8% 8.8% 7.1% 8.8%
Growth rate – Top 10 e 7.3% 8.6% 8.4% 7.2% 7.9% 7.2%

Growth rate – Top 10 e
(without China and India)

1.4% 1.0% 1.7% 1.0% 1.3% 1.0%

World

(1) Still grossing in 2019.

(2) Unofficial cumulated BO.

(3) Released in 2017. BO for 2018 only.

(1) Country data include minority co-productions.

(2) Films certified.

(3) Does not include feature films with budgets under USD 1
million, feature documentaries or student films.

(4) Does not include films produced outside the the official
system of script and final print approval.

(5) Feature films released.

(6) The apparent decline of film productions in 2018 is
linked to a time lag in identifying film productions with
budgets below GBP 500 000. Includes inward feature
co-productions but not inward features involving only VFX
work in the UK.

Top 20 films by gross box office worldwide | 2018
In USD million. GBO for 2018 only. Does not include carryovers.

Sources: Variety, Comscore, OBS

Top 10 markets worldwide by feature film production (1) | 2014-2018 e

In units. Ranked by 2018 values.
Sources: OBS, IHS Markit, National data sources

Original title
Country

of origin Studio

North
American

box office

Inter-
national

box office

Global
box

office
1 Avengers: Infinity War US Walt Disney 678.82 1 369.54 2 048.36
2 Black Panther US Walt Disney 700.06 648.31 1 348.

3 Jurassic World: Fallen Kingdom US Universal Pictures 417.72 891.74 1 309.

4 Incredibles 2 US Walt Disney 608.58 634.16 1 242.

5 Venom (1) US/CN Sony Pictures 213.31 642.24 855.55
6 Aquaman (1) US Warner Bros. 194.36 602.04 796.40
7 Mission: Impossible – Fallout US/CN/FR/NO Paramount 220.16 570.96 791.12
8 Deadpool 2 US 20th Century Fox 318.49 418.04 736.

9 Bohemian Rhapsody (1) GB INC/US 20th Century Fox 189.81 519.25 709.07

10 Fantastic Beasts: The Crimes of… GB INC/US Warner Bros. 156.78 470.90 627.

11 Ant-Man and the Wasp US Walt Disney 216.65 406.00 622.65
12 Operation Red Sea (2) CN/MA/HK Bona Film 1.54 611.52 613.06
13 Ready Player One US Warner Bros. 137.69 443.30 580.

14 Jumanji: Welcome to the Jungle (3) US Sony Pictures 235.51 319.23 554.74
15 Detective Chinatown 2 CN Wanda Pictures, … 1.98 530.16 532.14
16 The Meg US/CN Warner Bros. 145.44 384.40 529.

17 Hotel Transylvania 3: Summer Vacation US Sony Pictures 166.23 359.80 526.03
18 The Grinch US/CN Universal Pictures 266.28 207.86 474.14
19 Dying to Survive (2) CN Dirty Monkey, … ~ 463.14 463.14
20 Rampage US Warner Bros. 101.03 325.40 426.

Rank Market 2014 2015 2016 2017 2018
Annual growth rate
5 years 1 year

1 India (2) 1966 1845 1903 1986 1813 -2.0% -8.7%
2 China 618 686 944 970 1082 15.0% 11.5%
3 Japan 615 581 610 594 613 -0.1% 3.2%
4 US (3) 482 495 511 549 576 4.6% 4.9%
5 South Korea 232 232 339 494 454 18.3% -8.1%
6 France 258 300 283 300 300 3.8% 0.0%
7 Italy 201 185 224 234 272 7.9% 16.2%
8 Spain 224 254 254 279 264 4.2% -5.4%
9 Germany (5) 234 236 256 247 247 1.4% 0.0%

10 UK (6) 364 361 327 315 202 (6) -13.7% -35.9%

World total e 7 455 7 648 7 893 8 026 8 204 2.4% 2.2%

Growth rate – World e 2.6% 3.2% 1.7% 2.2% 2.4% 2.2%
Growth rate – Top 10 e -0.4% 9.2% 5.6% -0.8% 3.3% -0.8%

Growth rate – Top 10 e
(without China and India)

1.3% 6.1% 7.4% -2.8% 3.8% 0.5%

European Union

EU cinema attendance drops in
2018

The European Audiovisual Observatory esti-
mates that, after three years of above average
admission levels, cinema attendance in the 28
European Union Member States decreased by
2.9% to 956 million tickets sold. This is 28.7 mil-
lion less than in 2017 and the fourth lowest level
registered in the EU since 2009. For the first time
since 2014 GBO revenues did not cross the EUR
7 billion barrier but fell by 3.3% to EUR 6.80 bil-
lion (USD 8.03 billion). The average ticket price
in the EU remained stable at EUR 7.1.

Just as in 2017, admissions developed in quite
a heterogeneous manner across Europe in 2018:
cinema attendance increased in eight and decreased
in 16 EU markets, while remaining practically stable
in 3 of the 27 EU markets for which data were
available. Geographically speaking the decline in
EU cinema attendance was primarily caused by a
major drop in German admissions (-16.9 million)
as well as a comparatively poor year-on-year per-
formance in France (-8.3 million) and Italy (-7.0
million). Out of the five major EU markets, only the
United Kingdom registered an increase in cinema
attendance of 3.7% to 177 million admissions. This
is the highest admissions level in the UK since 1970.

Decrease in admissions to US films
The decrease of EU cinema attendance in 2018

was primarily caused by a decline in admissions
to US films which also led to a drop in US market
share from 66.2% to 63.2%. In contrast, admis-
sions to European films and European films pro-
duced in Europe with incoming US investment
(EUR inc) increased and saved EU admissions from
a more pronounced slump. The market share of

Information on the number of European digital screens is provided by MEDIA Salles and refers only to digital
screens equipped with DLP Cinema or SXRD technology. MEDIA Salles operates in the framework of the EU’s
Creative Europe MEDIA sub-programme and supports the promotion of European films through information
and training specifically for cinema exhibitors.

Complementary admissions data to top European films are provided by Europa Cinemas, the first international
network of cinemas for the circulation of European films with members in 34 MEDIA countries, 674 cities,
1 121 cinemas and 2 709 screens.

European films in the EU grew from 27.9% to an
estimated 29.4%, the second highest level in the
past five years.

This of course did not change the fact that EU
box office charts continued to be dominated by
US films which accounted for 23 out of the top
25 titles. As in past years it was mostly family films
and various franchise sequels, prequels and spin-
offs which featured among the top films. Avengers:
Infinity War topped the EU charts and was the only
film to sell more than 30 million tickets in 2018,
followed by Incredibles 2 (27.9 million).

Two UK incoming investment films, Bohemian
Rhapsody and Fantastic Beasts: The Crimes of
Grindelwald, made it into the top 25 as the market
share of EUR inc films increased from 4.2% to
5.4%. Leaving EUR inc films aside, the British his-
torical drama Darkest Hour was the most successful
European film selling 6.6 million tickets, ahead of
La ch’tite famille (6.4 million), Dany Boon’s spin-
off of his breakout success Bienvenue chez les Ch’tis
from 2008.

EU production increases again

After decreasing for the first time in 2017, EU
film production volume continued its longstanding
growth trend as the estimated number of theatrical
feature films produced in the EU increased from
1 737 to 1 847 films. EU film production volume
breaks down into an estimated 1 142 fiction films
(62%) and 705 feature documentaries (38%). The
increase in production activity was primarily linked
to a growing number of international co-produc-
tions and feature documentaries.

Source: European Audiovisual Observatory (OBS)

Population 2018 e 512.7 million

GDP per capita 2018 e 43 148 USD

Gross box office 2018 e 6.80 bn EUR (8.03 bn USD)

Admissions 2018 e 955.6 million

Average ticket price 2018 e 7.1 EUR (8.1 USD)

Average admissions per capita 2018 e 1.9

Screens 2017 | 2018 (1) e 33 026 | 33

112

Digital screens 2017 | 2018 (2) 30 802 | 31 246

Digital 3D screens 2017 | 2018 (2) 14 565 | 14 607

Market shares 2018 e

(1) Source: OBS (2)

Source: MEDIA Salles

US
63.2%

Others
2.1%

European films
29.4%

EUR inc/US
5.4%

Note: all 2018 figures for the EU are provisional estimates. “Inc” refers to films produced in a “host” country with US incoming investment.

European Union

Admissions and gross box office
in the European Union (1) | 2014-2018 prov.

800

200

1 000

2014 2015 2016 2017 2018
0

9 000

6 000

3 000

6 3

7 204

978

7 0

992

7 036

984

6 802

956

911

Source: OBS

Breakdown of European Union admissions
by nationality of films | 2014-2018e

In %.
0

100

60
40
20

2014 2015 2015 2017 2018
(prov.)

33.2

63.2

3.2 2.8

27.0

63.1

2.1

7.1

7.3

3.5

1.7

7.9

4.2

66.2

2.1

9.4

5.4

63.2

0.4
7.1

Source: OBS/LUMIERE

Rest of World

EUR

EUR INC

Admissions
(million)

Gross box office
(EUR million)

(1) National currencies converted to EUR at average annual exchange rates.

Note: ‘Inc’ refers to films produced in Europe with US incoming investment.

16
European Union

Number of feature films produced in the European Union | 2014-2018 prov.
In units.

prov.
Country 2014 2015 2016 2017 2018 Sources

Austria 100% national fiction 10 15 13 9 12 Austrian Film Institute

maj. co-prod. fiction 6 1 3 6 5 Austrian Film Institute
min. co-prod. fiction 4 7 7 9 10 Austrian Film Institute
Feature documentaries 25 17 21 20 25 Austrian Film Institute

Belgium (1) 100% national fiction 12 13 16 14 14 CFWB / VAF
maj. co-prod. fiction 20 17 21 22 13 CFWB / VAF
min. co-prod. fiction 33 31 28 38 31 CFWB / VAF
Feature documentaries 5 8 17 15 17 CFWB / VAF

Bulgaria 100% national fiction 2 10 18 10 5 National Film Center
maj. co-prod. fiction 1 2 6 4 1 National Film Center
min. co-prod. fiction 0 5 7 5 5 National Film Center
Feature documentaries 10 8 11 4 10 National Film Center

Cyprus e 100 % national fiction 1 2 0 2 3 OBS / Min. Cult
maj. co-prod. Fiction 1 1 0 1 0 OBS / Min. Cult
min. co-prod. Fiction 1 1 3 2 0 OBS / Min. Cult
Feature documentaries 0 1 0 1 0 OBS / Min. Cult

Croatia 100% national fiction 7 5 6 6 10 Croatian Audiovisual Centre
maj. co-prod. fiction 4 4 4 2 4 Croatian Audiovisual Centre

min. co-prod. fiction 5 5 6 9 8 Croatian Audiovisual Centre
Feature documentaries 3 1 1 16 14 Croatian Audiovisual Centre

Czech Rep. 100% national fiction 21 20 24 16 23 State Cinematography Fund
maj. co-prod. fiction 8 7 17 8 13 State Cinematography Fund

min. co-prod. fiction 6 9 7 5 11 State Cinematography Fund
Feature documentaries 26 20 31 25 30 State Cinematography Fund

Denmark (2) 100% national fiction 14 14 15 13 13 Danish Film Institute
maj. co-prod. fiction 7 9 8 8 9 Danish Film Institute
min. co-prod. fiction 7 8 8 9 10 Danish Film Institute
Feature documentaries 27 40 31 24 25 Danish Film Institute

Estonia (2) 100% national fiction 3 1 7 3 6 Estonian Film Institute
maj. co-prod. fiction 1 3 2 3 1 Estonian Film Institute
min. co-prod. fiction 2 2 3 5 3 Estonian Film Institute
Feature documentaries 13 19 8 7 11 Estonian Film Institute

Finland (3) 100% national fiction 18 14 15 20 18 Finnish Film Foundation
maj. co-prod. fiction 1 3 3 2 1 Finnish Film Foundation

min. co-prod. fiction 5 4 5 1 6 Finnish Film Foundation
Feature documentaries 23 24 22 18 24 Finnish Film Foundation

France 100% national fiction 124 126 125 147 141 CNC
maj. co-prod. fiction 44 66 55 38 48 CNC

min. co-prod. fiction 53 61 59 72 55 CNC
Feature documentaries 37 47 44 43 56 CNC

Germany (2) 100% national fiction 84 76 82 80 78 SPIO
maj. co-prod. fiction 22 24 41 27 35 SPIO

min. co-prod. fiction 43 45 43 34 40 SPIO
Feature documentaries 85 91 90 106 94 SPIO

Greece (2) e 100% national fiction 8 14 6 11 9 OBS
maj. co-prod. fiction 5 1 5 3 2 OBS
min. co-prod. fiction 9 7 10 6 3 OBS
Feature documentaries 9 8 6 6 6 OBS

Hungary 100% national fiction 11 13 15 12 15 National Film Office (NMHH)
maj. co-prod. fiction 1 2 3 2 2 National Film Office (NMHH)
min. co-prod. fiction 3 3 1 2 1 National Film Office (NMHH)
Feature documentaries 0 3 1 3 0 National Film Office (NMHH)

Ireland 100% national fiction 6 4 6 2 3 Screen Ireland
maj. co-prod. fiction 6 7 10 12 14 Screen Ireland

min. co-prod. fiction 13 6 4 6 12 Screen Ireland
Feature documentaries 7 15 9 7 14 Screen Ireland

Italy 100% national fiction 150 126 142 153 147 MiBACT
maj. co-prod. fiction 14 22 23 18 23 MiBACT

min. co-prod. fiction 7 5 7 5 10 MiBACT
Feature documentaries 30 32 52 59 93 MiBACT

17
European Union
Number of feature films produced in the European Union | 2014-2018 prov.
In units.

Latvia (2) 100% national fiction 1 1 2 3 5 National Film Centre of Latv

maj. co-prod. fiction 5 2 2 2 3 National Film Centre of Latvia

min. co-prod. fiction 1 0 3 1 1 National Film Centre of Latvia
Feature documentaries 17 14 13 13 17 National Film Centre of Latvia

Lithuania (2) 100% national fiction 8 6 8 6 9 Lithuanian Film Centre
maj. co-prod. fiction 3 2 2 4 2 Lithuanian Film Centre

min. co-prod. fiction 1 0 1 0 3 Lithuanian Film Centre
Feature documentaries 3 1 2 1 9 Lithuanian Film Centre

Luxembourg e 100% national fiction 0 3 1 1 0 OBS / LFF
maj. co-prod. fiction 3 5 0 3 3 OBS / LFF
min. co-prod. fiction 17 10 16 7 8 OBS / LFF

Feature documentaries 1 2 3 2 3 OBS / LFF
Malta e Total 3 1 3 2 4 IMDB / OBS
The 100% national fiction 22 24 19 19 23 NFF
Netherlands maj. co-prod. fiction 21 20 10 10 11 NFF

min. co-prod. fiction 19 19 21 25 21 NFF
Feature documentaries 22 19 32 33 31 NFF

Poland 100% national fiction 30 28 39 36 25 Polish Film Institute
maj. co-prod. fiction 4 4 1 6 4 Polish Film Institute
min. co-prod. fiction 3 3 6 17 5 Polish Film Institute

Feature documentaries 9 14 8 16 8 Polish Film Institute
Portugal 100% national fiction 2 6 5 12 13 ICA
maj. co-prod. fiction 1 9 8 0 8 ICA

min. co-prod. fiction 3 2 4 8 2 ICA
Feature documentaries 7 14 10 18 19 ICA

Romania 100% national fiction 27 27 27 22 32 CNC
maj. co-prod. fiction 3 8 7 6 10 CNC
min. co-prod. fiction 7 1 7 2 1 CNC

Feature documentaries 10 7 8 11 7 CNC
Slovakia 100% national fiction 4 5 2 4 1 Slovak Film Institute
maj. co-prod. fiction 3 5 4 5 6 Slovak Film Institute
min. co-prod. fiction 5 5 8 12 12 Slovak Film Institute

Feature documentaries 15 11 12 6 14 Slovak Film Institute
Slovenia (2) 100% national fiction 5 9 4 5 2 Slovenian Film Center
maj. co-prod. fiction 1 1 4 6 4 Slovenian Film Center
min. co-prod. fiction 4 5 4 1 3 Slovenian Film Center

Feature documentaries 2 4 8 9 12 Slovenian Film Center
Spain 100% national fiction 26 69 98 117 96 ICAA
maj. co-prod. fiction 68 58 23 19 26 ICAA
min. co-prod. fiction 32 16 13 18 4 ICAA

Feature documentaries 98 111 120 125 131 ICAA
Sweden (2) 100% national fiction 26 21 16 18 22 SFI
maj. co-prod. fiction 4 7 6 7 9 SFI
min. co-prod. fiction 7 4 7 13 0 SFI

Feature documentaries 19 18 25 30 20 SFI
United 100% national fiction 187 157 171 147 103 BFI
Kingdom (4) maj. co-prod. fiction 11 15 7 6 5 BFI

min. co-prod. fiction 21 15 17 9 13 BFI
Feature documentaries 89 111 71 78 30 BFI
Inward features (5) 56 63 61 75 51 BFI

Total fiction films EU 28 (6) e 1 080 1 115 1 159 1 120 1 142 OBS
Total feature documentaries EU 28 (6) e 535 591 589 617 705 OBS
Total feature films EU 28 (6) e 1 615 1 706 1 748 1 737 1 847 OBS

prov.
Country 2014 2015 2016 2017 2018 Sources

Continued

(1) CFWB counts films certified. VAF counts only feature films
released which received public support.

(2) Films on first release

(3) Films receiving national support.

(4) The apparent decline of film productions in 2018 is linked
to a time lag in identifying film productions with budgets
below GBP 500 000.

(5) Including inward feature co-productions, excluding inward
features involving only VFX work in the UK.

(6) Restated data series. Estimates accounting for time-lag in
identifiying GB productions. Excluding GB inward invest-
ment features.

18
European Union

prov.
ISO Country 2014 2015 2016 2017 2018 2018/17 Sources

AT Austria e 14.3 15.9 15.1 14.6 12.9 -11.4% Austrian Film Institute

BE Belgium e 21.6 21.1 19.4 19.6 18.8 -3.9% VAF / CFWB / Cinedata

BG Bulgaria 4.9 5.3 5.5 5.6 4.9 -12.1%
National Film Center
(NFC)

CY Cyprus e 0.7 0.7 0.7 0.7 0.8 1.3% Min. Cult.

CZ Czech Republic 11.6 13.0 15.6 15.2 16.3 7.3% Czech Film Fund

DE Germany 121.7 139.2 121.1 122.3 105.4 -13.8% FFA

DK Denmark 11.9 13.8 13.0 11.9 13.0 9.0%
Statistics Denmark /
Danish Film Institute

EE Estonia 2.6 3.1 3.3 3.5 3.6 3.4% Estonian Film Institute

ES Spain e 88.0 96.1 101.8 100.2 98.9 -1.3% ICAA

FI Finland e 7.3 8.7 8.7 8.8 8.1 -8.3% Finnish Film Foundation

FR France 209.1 205.4 213.2 209.4 201.1 -4.0% CNC

GB United Kingdom 157.5 171.9 168.3 170.6 177.0 3.7% BFI / DCM

GR Greece e 9.0 9.8 10.0 10.1 9.4 -7.2% Greek Film Center

HR Croatia 3.8 3.9 4.3 4.5 4.6 1.5%
Croatian Audiovisual
Centre

HU Hungary e 11.0 13.0 14.6 14.9 15.5 3.6% National Film Office

IE Ireland e 14.4 15.2 15.8 16.1 15.8 -2.1% Screen Ireland

IT Italy e 98.3 106.7 113.8 99.6 92.6 -7.0% SIAE / Cinetel / ANICA

LT Lithuania 3.2 3.3 3.7 4.1 4.3 5.1% Lithuanian Film Centre

LU Luxembourg e 1.1 1.3 1.1 1.2 1.1 -10.3% CNA

LV Latvia 2.3 2.4 2.5 2.5 2.5 1.9%
National Film Centre of
Latvia

MT Malta 0.7 0.7 0.7 0.8 – –
National Statistics Office
Malta

NL Netherlands 30.8 33.0 34.2 36.0 35.7 -0.8%
NFF / MaccsBox – NVB
& NVF

PL Poland 40.5 44.7 52.1 56.6 59.7 5.5% Polish Film Institute

PT Portugal 12.1 14.6 14.9 15.6 14.7 -5.9%
Instituto do Cinema e do
Audiovisual

RO Romania 10.2 11.2 13.0 13.9 13.3 -3.8%
Centrul National al
Cinematografiei

SE Sweden 16.3 17.0 17.8 16.9 16.4 -3.1% Swedish Film Institute

SI Slovenia 1.9 2.1 2.3 2.4 2.5 8.3% Slovenian Film Centre

SK Slovak Republic 4.1 4.6 5.7 6.7 6.0 -10.9%
Slovak Film Institute
/ UFD

EU 28 – Total e 911 978 992 984 956 -2.9%
European Audiovisual
Observatory

Admissions in the European Union | 2014-2018 prov.
In millions. Provisional data.

Source: OBS

19
European Union

(1) Estimated as of December 2017. (2) Including screens with screenings on less than 60 days.

(1) Czech screen base includes non-permanent screens (open-air, part-time, itinerant screens( which represent an important
part of the local cinema landscape. Digital screen penetration among permanent cinemas is above 90%

Source: MEDIA Salles

Sources: OBS

Digital screen penetration in the EU by country
December 2018 e

In %.

Number of screens in the EU by country
December 2018 e

In units.
0
100
80
60
40
20

Fr
an

G
er

m
an

Un
ite

d
Ki

ng
do

Th
e

N
et

he
rla

nd
s

Au
st

ria

Fi
nl

an
d

Be
lg

iu
m

Ire
la
nd

m
ar

Bu
lg

ar
ia

Cr
oa

tia

Sl
ov

en
ia

Lu
xe

m
bo

ur
g

Cy
pr

Sw
ed

en
Sp

ai
n

al
ta

Ita
ly

H
un

ga
ry

Ro
m

an
ia

Po
la
nd

Po
rt
ug

Es
to

ni
a

Li
th

ua
ni

G
re

ec
e

Sl
ov

ak
R

ep
ub

lic

(
1)

Cz
ec

h
Re

pu
bl

10
0

10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0

99 99 98 98 97 97 96
94 92 91

84
81

La
tv

ia
0
6 000
Fr
an
ce

(2
) It

al
y

G
er
m
an
y
Un
ite
d
Ki
ng
do

m
Sp

ai
n

Po
la
nd

(1
) Th

e
N
et

he
rla
nd
s

Sw
ed

en
Cz
ec
h
Re
pu
bl
ic
Po
rt
ug
al
G
re
ec
e
Au
st
ria
(
1)

Be
lg

iu
m

Ir
el

an
d

D
en

m
ar
k
Ro
m
an
ia
H
un
ga
ry
Fi
nl
an
d
Sl
ov
ak
R
ep
ub
lic
Bu
lg
ar
ia
Cr
oa
tia
Sl
ov
en
ia
Li
th
ua
ni
a
La
tv
ia
Es
to
ni
a

(
1)

Lu
xe

m
bo
ur
g

(1
) M

al
ta

(1
) C

yp
ru

5 000

4 000

3 000

2 000

1 000

5
98

5
20

4
84

4
34

3
58

1
24

95
6

80
8

75
0

58
0

54
7

52
3

46
3

40
4

37
2

35
8

18
5

10
8

79 66 66 37 35 35

20
European Union

The tables below offer provisional rankings based on the analysis of partially fragmentary data for 26 EU member states representing 93% of total
admissions in the EU.

(1) 7 451 034 admissions in the EU in 2017. (2) 2 264 045 admissions in the EU in 2017. Source: OBS/LUMIERE

(1) 9 170 946 admissions in the EU in 2017. Source: OBS/LUMIERE

Top 25 films by admissions in the European Union | 2018 prov.

Top 25 European films (including EUR inc) by admissions in
the European Union | 2018 prov.

Original title
Country
of origin Director

prov.
Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 30 994 8

2 Incredibles 2 US Brad Bird 27 885

265

3 Bohemian Rhapsody GB INC/US Bryan Singer 26 413 548
4 Jurassic World: Fallen Kingdom US J.A. Bayona 22 125 822
5 Fantastic Beasts: The Crimes of Grindelwald GB INC/US David Yates 20 162 345
6 Mamma Mia! Here We Go Again US/GB/JP Ol Parker 19 921 320
7 Black Panther US Ryan Coogler 18 936 504
8 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 18 344 645
9 Fifty Shades Freed US James Foley 17 647 914

10 Deadpool 2 US David Leitch 16 365 965
11 The Grinch US/CN Yarrow Cheney, Scott Mosier 13 822 945
12 Peter Rabbit US/AU Will Gluck 13 282 299
13 Venom US/CN Ruben Fleischer 12 840

350

14 Mission: Impossible – Fallout US/CN/FR/NO Christopher McQuarrie 12 456 615
15 A Star Is Born US Bradley Cooper 11 912 983
16 Jumanji: Welcome to the Jungle (1) US Jake Kasdan 9 941 367
17 The Nun US Corin Hardy 9 678 162
18 Solo: A Star Wars Story US Ron Howard 9 168 764
19 The Greatest Showman (2) US Michael Gracey 9 037 004
20 The Meg US/CN Jon Turteltaub 8 845 242
21 Ant-Man and the Wasp US Peyton Reed 8 691 322
22 Ready Player One US Steven Spielberg 8 611 061
23 Aquaman US James Wan 8 069

283

24 Mary Poppins Returns US Rob Marshall 7 564 967
25 Maze Runner: The Death Cure US Wes Ball 7 535 598

Original title
Country
of origin Director
prov.
Admissions

1 Bohemian Rhapsody GB INC/US Bryan Singer 26 413 548
2 Fantastic Beasts: The Crimes of Grindelwald GB INC/US David Yates 20 162 345
3 Johnny English Strikes Again GB/US/FR David Kerr 7 128 046
4 Darkest Hour GB/US Joe Wright 6 593 948
5 La ch’tite famille FR/BE Dany Boon 6 428 659
6 Les Tuche 3 (The Magic Tuche) FR Olivier Baroux 5 965 078
7 Kler (Clergy) PL/CZ Wojciech Smarzowski 5 362 662
8 Le grand bain (Sink or Swim) FR/BE Gilles Lellouche 4 387 141
9 Taxi 5 FR Franck Gastambide 4 138 811

10 Early Man GB/US Nick Park 3 691 935
11 The Commuter GB/US/FR Jaume Collet-Serra 3 609 532
12 Campeones (Champions) ES Javier Fesser 3 407 713
13 Tout le monde debout (Rolling to You) FR/BE Franck Dubosc 2 865 089
14 Paddington 2 (1) GB/FR Paul King 2 581 839
15 Alad’2 (Aladdin 2) FR Lionel Steketee 2 428 603
16 Belle and Sebastian 3 (Friends for Life) FR Clovis Cornillac 2 409 748
17 Astérix: Le secret de la potion magique FR/BE Alexandre Astier, Louis Clichy 2 320 092
18 Kobiety Mafii (Women of Mafia) PL Patryk Vega 2 159 6

19 Loving Pablo ES/BG Fernando León de Aranoa 2 127 849
20 Jim Knopf und Lukas der Lokomotivführer DE Dennis Gansel 2 000 548
21 Todos lo saben (Everybody Knows) ES/FR/IT Asghar Farhadi 1 980 643
22 Zimna wojna (Cold War) PL/FR/GB Pawel Pawlikowski 1 972 598
23 Die kleine Hexe (The Little Witch) DE/CH Mike Schaerer 1 816

105

24 Le jeu (The Game) FR/BE Fred Cavayé 1 782 774
25 Superlópez ES Javier Ruiz Caldera 1 776 175

21
European Union

Note: A total of 181 European films (including 15 EUR inc films) were identified among the top 600 films on release in the US and
Canada in 2018, generating cumulative admissions of 71.5 million (5.5% market share)

(1) Data based on Europa Cinemas members in 34 MEDIA countries, 674 cities, 1 121 cinemas, 2 709 screens.
(2) Country of origin and production year as allocated in LUMIERE database.

Sources: Comscore, OBS/LUMIERE

Sources: Europa
Cinemas, OBS

Top 25 European films (incl EUR inc) by admissions
in the US & Canada | 2018 e

Admissions estimated based on average ticket price of USD 9.11.

Top 25 EU films by admissions in the Europa Cinemas Network (1) | 2018 e

Original title Country of origin Director Distributor Admissions e
1 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 20 858 978
2 Fantastic Beasts: The Crimes … GB INC/US David Yates Warner Bros. 17 165 602
3 Paddington 2 GB/FR Paul King Warner Bros. 4 459

279

4 The Commuter GB/US/FR Jaume Collet-Serra Lionsgate 3 963 344
5 Darkest Hour GB/US Joe Wright Focus Features 3 754 8

6 The Strangers: Prey at Night GB/US Johannes Roberts Aviron Pictures 2 664 283
7 The Favourite GB/IE/US Yorgos Lanthimos Fox Searchlight 1 896 874
8 Call Me by Your Name IT/FR/BR/US Luca Guadagnino Sony Pictures 1 384 273
9 Three Identical Strangers GB Tim Wardle Neon Rated 1 343 604

10 Mary Queen of Scots GB/US Josie Rourke Focus Features 1 229 8

11 Early Man GB/US Nick Park Lionsgate 901 586
12 The Wife GB/SE/US Björn Runge Sony Pictures 891 907
13 The Death of Stalin FR/BE/GB/CA Armando Iannucci IFC Films 874 098
14 Hotel Artemis GB/US Drew Pearce Open Road 731 531
15 They Shall Not Grow Old GB/NZ Peter Jackson Warner Bros. 622 010
16 2001: A Space Odyssey GB/US Stanley Kubrick Warner Bros. 621

238

17 Colette GB/US/HU Wash Westmoreland Bleecker Street 560

264

18 Johnny English Strikes Again GB/US/FR David Kerr Universal 481 153
19 7 Days in Entebbe GB/US José Padilha Focus Features 362 801
20 The Leisure Seeker IT/FR Paolo Virzì Sony Pictures 350 305
21 Robin Hood GB INC/US Ridley Scott Universal 344 602
22 The Sisters Brothers FR/ES/RO/US/BE Jacques Audiard Annapurna Pictures 342 754
23 Whitney GB/US Kevin Macdonald Roadside Attractions 330 028
24 American Animals GB/NL/US Bart Layton The Orchard 311 531
25 You Were Never Really Here GB INC/FR/US Lynne Ramsay Amazon Studios 275 6

Original title
Country

of origin (2) Director
prov.

Admissions
1 Zimna wojna (Cold War) PL/FR/GB Pawel Pawlikowski 974 847
2 Darkest Hour GB/US Joe Wright 921 342
3 Chiamami col tuo nome (Call Me By Your Name) IT/FR/BR/US Luca Guadagnino 846 531
4 Todos lo saben (Everybody Knows) ES/FR/IT Asghar Farhadi 616 281
5 The Children Act GB/US Richard Eyre 578

224

6 Loving Vincent PL/GB/CH/NL D. Kobiela & H. Welchman 468 685
7 Le Sens de la fête (C’est la vie) FR/CA/BE O. Nakache & E. Toledano 431 665
8 The Leisure Seeker IT/FR Paolo Virzi 405 975
9 Aus dem Nichts (In The Fade) DE/FR Fatih Akin 389 4

10 The Death of Stalin FR/BE/GB/CA Armando Iannucci 363 950
11 Girl BE/NL Lukas Dhont 353 597
12 The Wife GB/SE/US Bjorn Runge 337 823
13 Den skyldige (The Guilty) DK Gustav Möller 290 859
14 Dogman IT/FR Matteo Garrone 279 481
15 Kler (Clergy) PL/CZ Wojciech Smarzowski 276 5

16 Das schweigende Klassenzimmer (The Silent…) DE Lars Kraume 258 992
17 Der Vorname (How About Adolf?) DE Sönke Wortmann 239 919
18 The Bookshop ES/GB/DE Isabel Coixet 231 955
19 Pope Francis – A Man of His Word VA/IT/CH/DE/FR Wim Wenders 230 936
20 Le grand bain (Sink or Swim) FR/BE Gilles Lellouche 229 766
21 Early Man GB/US Nick Park 223 794
22 Campeones (Champions) ES Javier Fesser 223 418
23 The Guernsey Literary And Potato Peel Pie Society GB INC/US/FR Mike Newell 221 649
24 Le Brio FR/BE Yvan Attal 221 526
25 Maria by Callas FR Tom Volf 221 402

22
France

(1) Officially recognised films.

(1) Source: CNC (2) MEDIA Salles

Number of French feature films produced | 2014-2018
In units.

400

300

200
100
2014 2015 2016 2017 2018

258

152

55
51
300

158

76
66
300

177

45
78
300

182

283

159

Source: CNC

Population 2018 e 67.2 million

GDP per capita 2018 e 42 419 USD

Gross box office 2018 e 1.34 bn EUR (1.58 bn USD)

Admissions 2018 e 201.1 million

Average ticket price 2018 e 6.6 EUR (7.8 USD)

Average admissions per capita 2018 e 3.0

Screens 2017 | 2018 (1) 5 913 | 5 981

Digital screens 2017 | 2018 (2) 5 913 | 5 981

Digital 3D screens 2017 | 2018 (2) 3 025 | 3 030

Admissions and gross box office in France | 2014-2018

100
300

250

200

150

2014 2015 2016 2017 2018
400
800

600

1 200

209.1

1 333.3 1 331.7

205.4

1 388.4

213.2

1 380.3

209.4

1 33

6.1

201.1

Source: CNC
Market shares 2018 e

Total

(1)

100% national

Admissions
(million)

Gross box office
(EUR million)

Others
60.5%

National
39.5%

Min. co-prod.

Maj. co-prod.

23
France

Distribution and exhibition

French cinema attendance dropped by 4% to
201 million admissions in 2018. This marks the
fifth consecutive year of admissions exceeding
200 million even though it represents the second
lowest level in the past decade. GBO decreased
by 3.2% to EUR 1.34 billion, the third highest
level in history after 2016 and 2017.

Factors contributing to the decline in admis-
sions included the soccer World Cup which was
won by France, heat waves, strikes as well as the
comparatively poor performance of US block-
busters. Despite representing 13 out of the top 20
films, cumulative admissions to US films declined
by 11% as US market share dropped from 51% to
45%. In contrast, admissions to French and other
European films increased but could not make up
for the loss of US film admissions. French box office
was once more dominated by a mixture of US
superhero franchise films, family animations and
local mainstream comedies. Incredibles 2 topped
the charts selling 5.8 million tickets, followed by
two French comedy franchises Les Tuche 3 and
La ch’tite famille. A total of six French films made
it into the top 20 and contributed largely to the
increase in national market share from 37.5% to
39.5%, the highest level since 2014. As in 2017
Walt Disney led the competitive French distri-
bution market with a market share of 12.7%,

ahead of UPI (9.6%), Warner Bros (9.2%) and
20th Century Fox (9.1%).

After intense industry negotiations an agree-
ment on new rules on media chronology was
reached in December 2018. According to the new
rules exploitation windows have been shortened
allowing the public speedier access to works on
both TV and VOD platforms.

Production and funding

With 300 feature films approved by the coun-
try’s national funding body, the CNC, in 2018
French film production equalled the record levels
of 2015 and 2017. In 2018 the average produc-
tion cost of French initiative films amounted to
EUR 4.0 million, compared to EUR 4.9 million in
2017 and EUR 5.1 million ten years ago. Total
investment in film production in France plum-
meted by 15% to EUR 1.13 billion in 2018, EUR
957 million of which was invested in French ini-
tiative films. These are the third lowest levels
registered in the past decade and reflect a sharp
decline in financing from traditional distribution
deals and TV channels. In an effort to further
promote gender equality France has introduced
a new subsidy bonus of 15% on top of the sub-
sidy received from the CNC for films with women
in key positions, effective from January 2019.

Sources: CNC, Le Film Français, Variety, OBS

Top 20 films by admissions in France | 2018 (1)

(1) Covering film releases and admissions between 27/12/2017 and 25/12/2018. Source: Le Film Français

Original title
Country
of origin Director

Distributor Admissions e

1 Incredibles 2 US Brad Bird Walt Disney 5 849 783
2 Les Tuche 3 (The Magic Tuche) FR Olivier Baroux Pathé Distribution 5 687 100
3 La ch’tite famille FR/BE Dany Boon Pathé Distribution 5 626 049
4 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 5 141

500

5 Le grand bain (Sink or Swim) FR/BE Gilles Lellouche StudioCanal 4 162 550
6 Fantastic Beasts: The Crimes of… GB INC/US David Yates Warner Bros. 3 700 901
7 Black Panther US Ryan Coogler Walt Disney 3 688 1

8 Taxi 5 FR Franck Gastambide EuropaCorp/ARP 3 653 9

9 Jurassic World: Fallen Kingdom US J.A. Bayona UPI 3 642 158

10 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 3 546 367
11 Hotel Transylvania 3: Summer… US Genndy Tartakovsky Sony Pictures 3 076 040
12 Mission: Impossible – Fallout US/CN/FR/NO C. McQuarrie Paramount Pict. 3 021 982
13 Maze Runner: The Death Cure US Wes Ball 20th Century Fox 2 846 645
14 Fifty Shades Freed US James Foley UPI 2 767 753
15 Deadpool 2 US David Leitch 20th Century Fox 2 599 594
16 Tout le monde debout (Rolling to…) FR/BE Franck Dubosc Gaumont Distrib. 2 419 376
17 Alad’2 (Aladdin 2) FR Lionel Steketee Pathé Distribution 2 340 362
18 Venom US/CN Ruben Fleischer Sony Pictures 2 288 459
19 Ready Player One US Steven Spielberg Warner Bros. 2 280 758
20 Astérix: Le secret de la potion magique FR/BE A. Astier, L. Clichy SND Films 2 102 757

Germany

Population 2018 e 82.9 million

GDP per capita 2018 e 47 535 USD

Gross box office 2018 e 899.30 M EUR (1.06 bn USD)

Admissions 2018 e 105.4 million

Average ticket price 2018 e 8.5 EUR (10.1 USD)

Average admissions per capita 2018 e 1.3

Screens 2017 | 2018 (1) 4 803 | 4 849

Digital screens 2017 | 2018 (2) 4 803 | 4 848

Digital 3D screens 2017 | 2018 (2) 2 220 | 2

220

(1) Films on first release.

Admissions and gross box office in Germany | 2014-2018

100
200

180

160

140

120

2014 2015 2016 2017 2018
800

900

1 200

1 100

1 000
979.7

1 167.1

139.2

1 023.0

21.1

1 056.1

122.3
899.3

105.4

121.7

Source: FFA

Number of German feature films produced (1) | 2014-2018
In units.

0
300
200
100
2014 2015 2016 2017 2018

234

149

37
48

236

139

42
55

256

138

61
57

247

155

44
48
247

144

54
49

Source: SPIO

Market shares 2018 e

(1) Source: FFA (2) Source: MEDIA Salles

Others
76.5%

National
23.5%

Total

100% national
Admissions
(million)
Gross box office
(EUR million)
Min. co-prod.
Maj. co-prod.

Germany

Top 20 films by admissions in Germany | 2018

Distribution and exhibition

German cinema attendance plummeted 13.9%
to 105.5 million admissions in 2018. This is the
lowest level since the German reunification in
1990. The steep drop comes after a marginal 1%
increase in 2017 which had followed a 13% fall in
2016. Impacted by a 33% drop in 3D admissions
whose market share fell to 16.3%, the lowest level
since the roll-out of 3D in 2009, the average ticket
price decreased for the first time in 14 years by
9 cents to EUR 8.54. As a result, GBO dropped
even more sharply than admissions, falling by
14.8% to EUR 899 million. This is the first time
since 2012 that Germany’s box office earnings
failed to reach the one billion benchmark that
clearly. The number of first releases continued to
decrease for the second year in a row, declining
from 587 in 2017 to 576 film releases.

Both US as well as local films registered declining
admissions while German films managed to keep
their market share relatively stable, capturing
23.5% of the market despite no local film fea-
turing in the top 10 ranking which was exclusively
dominated by US studio titles. Two children’s films
Jim Knopf und Lukas der Lokomotivführer (1.8 mil-
lion admissions) and Die Kleine Hexe (1.6 million)
became the two most successful local produc-
tions. 2018 was also characterised by the lack
of breakout successes with no single film selling
more than four million tickets in 2018, in con-

trast to three films in 2017 and eight in 2015.
Universal topped Germany’s distribution market in
2018 taking 18.8% of total admissions, ahead of
Warner Bros. (16.8%) and Walt Disney (14.2%).

Production and funding

German feature film production remained
stable with 247 national feature films, including
minority co-productions, released in 2018, the
same number as in 2017. On the funding side
the DFFF, Germany’s main public funding pro-
gram for theatrical films, revamped its guidelines
in October 2018 and expanded the rebate system
for the VFX sector. Instead of requiring a physical
shoot in the country, the new regulations require
a simple EUR 2 million local spend in order to
qualify for the DFFF II’s 25% rebate. Combined
with regional funding, VFX support can now go
up to 45%. At the same time and complementing
the DFFF, the Ministry of Culture also took over
the responsibility for the EUR 15 million German
Motion Picture Fund (GMPF) which supports the
production of films and series to be released on TV
or VOD platforms. Good news also came earlier
this year for the FFA as Netflix finally agreed to
make financial contributions to the national film
fund from September 2019 onwards.

Sources: FFA, SPIO, BKM, Blickpunkt Film,
filmecho/filmwoche, Variety, OBS

Original title
Country
of origin Director Distributor Admissions

1 Fantastic Beasts: The Crimes of… GB INC/US David Yates Warner Bros. 3 589 309
2 Avengers: Infinity War US Anthony & Joe Russo Walt Disney Studios 3 399

185

3 Fifty Shades Freed US James Foley Universal Pictures 3 007 580
4 Incredibles 2 US Brad Bird Walt Disney Studios 2 916 732
5 Hotel Transylvania 3: Summer… US Genndy Tartakovsky Sony Pict. Releasing 2 538

116

6 Jurassic World: Fallen Kingdom US J.A. Bayona Universal Pictures 2 403 661
7 Deadpool 2 US David Leitch 20th Century Fox 2 242 445
8 Mamma Mia! Here We Go Again GB/US Ol Parker Universal Pictures 2 179 839
9 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 2 049 780

10 The Grinch US/CN Y. Cheney, S. Mosier Universal Pictures 1 966

133

11 Jim Knopf und Lukas der Lokomotivf… DE Dennis Gansel Warner Bros. 1 813 006
12 Black Panther US Ryan Coogler Walt Disney Studios 1 797 443
13 Die kleine Hexe (The Little Witch) DE/CH Mike Schaerer StudioCanal 1 582 668
14 Peter Rabbit US/AU Will Gluck Sony Pict. Releasing 1 526 8

15 Star Wars: Episode VIII – The Last Jedi US Rian Johnson Walt Disney Studios 1 509 581
16 Dieses bescheuerte Herz (This Crazy… DE Marc Rothemund Constantin Film 1 417 681
17 Venom US/CN Ruben Fleischer Sony Pict. Releasing 1 373 487
18 Solo: A Star Wars Story US Ron Howard Walt Disney Studios 1 364 133
19 Mission: Impossible – Fallout US/CN/FR/NO C. McQuarrie Paramount 1 285 749
20 Der Vorname (How About Adolf?) DE Sönke Wortmann Constantin Film 1 272 832

Source: FFA

Italy

Population 2018 e 60.5 million

GDP per capita 2018 e 33 725 USD

Gross box office 2018 e 588.6 M EUR (695 M USD)

Admissions 2018 e 92.6 million

Average ticket price 2018 e 6.4 EUR (7.5 USD)

Average admissions per capita 2018 e 1.5

Screens 2017 | 2018 (1) 5 315 | 5 205

Digital screens 2017 | 2018 (2) 3 743 | 3 766

Digital 3D screens 2017 | 2018 (2) 1 385 | 1 390

Number of Italian feature films produced | 2014-2018
In units.

0
300
200
100
2014 2015 2016 2017 2018
180
14
7

201

157

22
6
185

188

26
10
224

209

19
6
234

233

26
13

272

Source: DG Cinema – MiBACT

100% national
Total

Admissions and gross box office in Italy | 2014-2018 e

60
100
80
160
140
120
2014 2015 2016 2017 2018
0
250
500

750

1 000

98.3

106.7

664.3

3.8

695.1

99.6

19.4

92.6

588.6600.1

Source: SIAE, ANICA, Cinetel, OBS

Market shares 2018 e

Gross box office
(EUR million) e

Admissions
(million) e

(1) Source: SIAE. But only 3 849 screens with at least 60 days of activity in 2017.
(2) Source: MEDIA Salles (counting only screens with at least 60 days of activity).

Others
76.8%

National
23.2%

Maj. co-prod.
Min. co-prod.

27
Italy

Top 20 films by admissions in Italy | 2018

Distribution and exhibition

Italian box office continued its recent down-
ward trend with cinema attendance dropping by
7% to 92.6 million admissions. This decline follows
a 12% plunge in 2017 and represents the lowest
level in ticket sales since 1995. GBO decreased by
5% to an estimated EUR 589 million, the lowest
level since the turn of the century, as the average
ticket price increased by 12 cents to EUR 6.35.

In contrast to 2017, when Italian films suffered
a massive drop in admissions, the decline in 2018
was caused by the comparatively poor performance
of US blockbusters, whose market share dropped
from 65% to 59% despite accounting for all the
top 10 films. The persistently low number of US
and local blockbuster releases during the summer
months is regarded as an important factor for the
low turnout. On a more positive note, Italian films
regained traction in 2018. Led by dramedy A casa
tutti bene (1.4 million admissions, rank 11) and
comedy Benedetta follia (1.3 million, rank 14) local
films attracted more admissions and increased
their market share from 17.6% to 23.2% in 2018.
Warner Bros led the Italian distribution market,
taking 19.1% of total admissions, followed by
Universal (14.6%), Walt Disney (14.4%), 20th
Century Fox (11.6%) and 01 Distribution (11.5%).

Following a controversy about the simulta-
neous release of On My Skin in theatres and on

Netflix, theatrical windows were regulated by
a Ministerial Decree announced in November
2018, enforcing a time lag of 105 days between
the theatrical release of a film and its availability
on other platforms. This represents the country’s
first legislative intervention concerning theatrical
windows and effectively enshrines an already
well-established practice into law. The law fore-
sees two important exceptions for limited releases
selling less than 50 000 tickets in the first 21 days
as well as for films with a short-time release of
up to 3 days, in which cases the window can be
reduced to 60 and 10 days respectively.

Production and funding

Italian feature film production on the other hand
continued to grow thanks to a significant increase
in feature documentaries and hit a record high
of 272 films produced in 2018. The Italian film
industry is hoping to benefit from the implementa-
tion of the new film law from 2017 through a series
of decrees which is pouring some EUR 400 mil-
lion annually into all industry sectors, including
the exhibition sector where public support aims
to incentivize the refurbishment of existing and
the construction of new cinemas, which should
contribute to winning back cinema audiences.

Sources: DG Cinema-MiBACT, ANICA, Cinetel,
Cineuropa,

Screen International, Variety, OBS

Source: Cinetel

Original title
Country
of origin Director Distributor Admissions

1 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 3 000 297
2 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 2 645 814
3 Fifty Shades Freed US James Foley Universal 2 043 606
4 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Warner Bros. 1 934 922
5 Incredibles 2 US Brad Bird Walt Disney 1 874 635
6 Fantastic Beasts: The Crimes of… GB INC/US David Yates Warner Bros. 1 825 777
7 Jurassic World: Fallen Kingdom US J.A. Bayona Universal 1 638 151
8 Jumanji: Welcome to the Jungle US Jake Kasdan Warner Bros. 1 510 844
9 The Nutcracker and the Four Realms US J. Johnston, L. Hallström Walt Disney 1 478 701

10 Mary Poppins Returns US Rob Marshall Walt Disney 1 455 921
11 A casa tutti bene (There Is No Place…) IT Gabriele Muccino 01 Distribution 1 437 629
12 The Shape of Water US Guillermo del Toro 20th Century Fox 1 363 279
13 Coco US L. Unkrich, A. Molina Walt Disney 1 327 125
14 Benedetta follia IT Carlo Verdone Filmauro/Universal 1 309 063
15 Venom US/CN Ruben Fleischer Warner Bros. 1 236 407
16 Come un gatto in tangenziale IT Riccardo Milani Vision Distribution 1 176 915
17 Wonder US Stephen Chbosky 01 Distribution 1 151

364

18 Black Panther US Ryan Coogler Walt Disney 1 064 295
19 Deadpool 2 US David Leitch 20th Century Fox 1 051 322
20 The Post US Steven Spielberg 01 Distribution 1 027 588

Spain

Population 2018 e 46.7 million

GDP per capita 2018 e 30 689 USD

Gross box office 2018 e 585.7 M EUR (691.8 M USD)

Admissions 2018 e 98.9 million

Average ticket price 2018 e 5.9 EUR (7.0 USD)

Average admissions per capita 2018 e 2.1

Screens 2017 | 2018 (1) 3 625 | 3 589

Digital screens 2017 | 2018 (2) 3 467 | 3 483

Digital 3D screens 2017 | 2018 (2) 1 130 | 1 120

Admissions and gross box office in Spain | 2014-2018 prov.

0
200
150
100
50
2014 2015 2016 2017 2018
200
400
600
800

88.0

518.2
96.1

575.2

101.8

602.0

100.2

98.9

585.7

Source: ICAA

Number of Spanish feature films produced (1) | 2014-2018
In units.

0
300
200
100

2014 2015 2016 2017 2018
(prov.)

224
100
83
41

254

166

68
20
254

214

27
13
279

237

20
22
264
214
34
16
Source: ICAA
Market shares 2018 e

(1) Films certified. (2) Including parity co-productions.

(1) Source: ICAA (2) Source: MEDIA Salles

Gross box office
(EUR million)
Admissions
(million)
Total

100% national

Others
82.4%

National
17.6%

Maj. co-prod. (2)

Min. co-prod.

29
Spain
Distribution and exhibition

After logging in over 100 million admissions
in 2016 and 2017, Spanish cinema attendance
once again dropped below this threshold in 2018
as admissions dipped 1.3% to 98.9 million. This
decline comes despite the long awaited lowering
of the sales tax on cinema tickets from 21% to
10%, which many had hoped would have a more
positive impact on ticket sales. However, taking the
upgrading efforts of several major cinema chains
as a sign of a positive outlook for the future and
the effect of the soccer World Cup as an explana-
tion for the slight decline, market experts inter-
pret 2018 results as sustaining the longer-term
recovery of the Spanish theatrical market which
had started in 2014. The lower sales tax was partly
passed on to consumers and resulted in a slightly
lower average ticket price which caused GBO to
decline by 2.2% to EUR 586 million.

For the second time in the past five years the
Spanish box office was topped by a US rather than
a local blockbuster. J.A. Bayona’s Jurassic World:
Fallen Kingdom led the charts ahead of Incredibles 2,
Bohemian Rhapsody and Avengers: Infinity War. With
3.2 million tickets sold sports comedy Campeones
was the most successful domestic title of 2018,
ahead of the action comedy Superlópez. A total of
five local films, all of which comedies, sold more
than 1 million tickets, confirming the strong appeal
of local comedies to Spanish audiences. In con-
trast to the overall market cumulative admissions

to Spanish films increased slightly and national
market share rose from 17.0% to 17.6%. UPI led
the Spanish distribution market once more, cap-
turing an estimated 21% of total admissions, fol-
lowed by Walt Disney (19%), Hispano Foxfilms
(16%) and Warner Bros. (12%).

Production and funding

Spanish film production activity remained stable
with a total of 264 films certified by ICAA, the
country’s national public funding body, in 2018.
Over the past five years Spain saw the number
of 100% national films more than double while
the number of international co-productions more
than halved. Boosted by tax incentives, Spain has
been attracting an increasing number of foreign
film and high-end TV drama shoots making it
sometimes more advantageous for Spanish pro-
duction companies to offer production services
to international productions than to co-produce
them. A new law regulating state aid came into
effect in mid-2018 adapting most forms of public
aid to better meet the needs of the film industry,
including an increase in the maximum permitted
cost limit for animation projects, which represent
an important sector for the Spanish film industry.

Sources: ICAA, Spain Film Commission, Screen
International, Variety,

Hollywood Reporter, OBS

Top 20 films by admissions in Spain | 2018 prov.

Sources: ICAA, Comscore

Original title
Country
of origin Director Distributor

Admissions

1 Jurassic World: Fallen Kingdom US J.A. Bayona UPI 3 873 352
2 Incredibles 2 US Brad Bird Walt Disney 3 747 760
3 Bohemian Rhapsody GB INC/US Bryan Singer Hispano Foxfilms 3 500 206
4 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 3 446 812
5 Campeones (Champions) ES/MX Javier Fesser UPI 3 250 299
6 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Sony Pictures 2 371 174
7 Fifty Shades Freed US James Foley UPI 1 945 654
8 The Meg US/CN Jon Turteltaub Warner Bros. 1 778 964
9 Superlópez ES Javier Ruiz Caldera Walt Disney 1 776 175

10 The Nun US Corin Hardy Warner Bros. 1 754 000
11 Fantastic Beasts: The Crimes of… GB INC/US David Yates Warner Bros. 1 720 890
12 Ralph Breaks the Internet US R., P. Johnston Walt Disney 1 605 886
13 Mamma Mia! Here We Go Again US/GB/JP Ol Parker UPI 1 544 784
14 The Shape of Water US Guillermo del Toro Hispano Foxfilms 1 526 497
15 Venom US/CN Ruben Fleischer Sony Pictures 1 521

339

16 Deadpool 2 US David Leitch Hispano Foxfilms 1 510 582
17 El mejor verano de mi vida (The Best… ES Dani de la Orden A Contracorriente 1 423 546
18 Peter Rabbit US/AU Will Gluck Sony Pictures 1 293 894
19 Black Panther US Ryan Coogler Walt Disney 1 259 659
20 Perfectos desconocidos (Perfect… ES/IT Álex de la Iglesia UPI 1 257 599

United Kingdom

Population 2018 e 66.2 million
GDP per capita 2018 e 40 026 USD
Gross box office 2018 e 1.28 bn GBP (1.71 bn USD)
Admissions 2018 e 177.0 million
Average ticket price 2018 e 7.2 GBP (9.7 USD)
Average admissions per capita 2018 e 2.7
Screens 2017 | 2018 (1) 4 264 | 4 340
Digital screens 2017 | 2018 (2) 4 262 | 4 424
Digital 3D screens 2017 | 2018 (2) 2 060 | 2 090

Market shares 2018 e

Admissions and gross box office in the United Kingdom | 2014-2018

100
250
150
200
2014 2015 2016 2017 2018
600

1 500

1 200
900

7.5

1 058.0

235.5

171.9

1 227.5

168.3

1 278.2

170.6

1 282.1

177.0

Sources: BFI, DCM/CAA, Comscore

Number of films produced in the United Kingdom | 2014-2018 prov. (1)
In units.

0
400
300
200
100
2014 2015 2016 2017 2018
(prov.)
(1)
364
265
56
24
19

361

258
63
21
19

327

237
61
20
9

315

221

75
11
8

202

131

51
15
5

Source: BFI

Others
55.2%

(1) Source: BFI (2) Source: MEDIA Salles

National
44.8%

Total
100% national

Inward features (2)

Min. co-prod.
Maj. co-prod.

Gross box office
(GBP million)

Admissions
(million)

(1) The apparent decline of film productions in 2018 is linked
to a time lag in identifying film productions with budgets
below GBP 500 000.

(2) Including inward investemt features except
features involving only VFX work in the UK.

31
United Kingdom

Top 20 films by admissions in the United Kingdom & Ireland | 2018 e

Estimated admissions based on average ticket price of GBP 7.28.

Distribution and exhibition
2018 turned out to be a record year for UK

cinema. Not only was the UK the only major
EU market to register an increase in admissions,
UK cinema attendance reached its highest level
of admissions since 1970 as admissions grew
by 3.7% to 177 million tickets sold. Despite a
3.3% drop in the average ticket price from GBP
7.50 to GBP 7.24, GBO climbed to yet another
record high of GBP 1.28 billion.

The UK theatrical market was once again domi-
nated by US studio titles with only one indepen-
dent UK film, Darkest Hour, making it into the top
20 in 2018. As elsewhere in Europe the top 20
were dominated by sequels, franchises and re-
makes which took up 16 places. Thanks to the
exceptionally strong performance of several US
studio backed films like Avengers: Infinity War and
Mamma Mia: Here We Go Again! the market share
of UK qualifying films increased from 27.9% to
33.3%. At the same time the market share of
independent UK films was also up from 9.5%
to 11.7% leading to a cumulative market share
of UK films of 44.8%. This is the highest market
share since records began in 2001. Walt Disney
finished as top distributor for the second year, net-
ting 19.2% of total GBO in the UK and Ireland.
Universal Pictures took second place (19.1%),
ahead of 20th Century Fox (14.4%) and Warner
Bros. (13.8%).

Production and funding

The number of UK film productions has been
declining steadily over the past five years: According
to BFI interim figures, a total of 202 UK feature
films – including inward investment films – started
principal photography in 2018, compared to
364 in 2014.

Boosted by high incentives and a compara-
tively low British Pound local production spend
had reached a record high of GBP 2.2 billion
in 2017. Final figures are not yet available for
2018, but provisional figures show a produc-
tion spend of GBP 1.92 billion (USD 2.56 billion),
the second highest level on record. 25 US studio
titles accounted for 74% of production spend,
while 31 independent inward investment films
and 130 domestic films both accounted for 12%.
International co-productions (18 films) registered
the lowest level in years accounting for only 1%
of total spend.

In early 2019 the UK signed the updated version
of the European Convention on Cinematographic
Coproduction. This is interpreted by some as a
symbolic step amidst Brexit discussions to con-
firm the UK’s determination to continue working
with Europe.

Sources: British Film Institute (BFI),
DCM, Screen International, Comscore, OBS

Original title
Country
of origin Director

Distributor Admissions e

1 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 9 140 315
2 Mamma Mia! Here We Go Again US/GB/JP Ol Parker Universal Pictures 8 322 648
3 Incredibles 2 US Brad Bird Walt Disney 7 168 837
4 Black Panther US Ryan Coogler Walt Disney 6 563 796
5 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 6 098 004
6 The Greatest Showman US Michael Gracey 20th Century Fox 5 555 786
7 Jurassic World: Fallen Kingdom US J.A. Bayona Universal Pictures 5 296 380
8 Peter Rabbit US/AU Will Gluck Sony Pictures 5 218 399
9 Fantastic Beasts: The Crimes of… GB INC/US David Yates Warner Bros. 4 267 554

10 Deadpool 2 US David Leitch 20th Century Fox 4 228 854
11 A Star Is Born US Bradley Cooper Warner Bros. 3 384 986
12 The Grinch US/CN Y. Cheney, S. Mosier Universal Pictures 3 295 294
13 Mary Poppins Returns US Rob Marshall Walt Disney 3 245 565
14 Darkest Hour GB/US Joe Wright Universal Pictures 3 218 450
15 Mission: Impossible – Fallout US/CN/FR/NO Christopher McQuarrie Paramount 3 082 160
16 Jumanji: Welcome to the Jungle US Jake Kasdan Sony Pictures 2 607 745
17 Venom US/CN Ruben Fleischer Sony Pictures 2 570 368
18 Solo: A Star Wars Story US Ron Howard Walt Disney 2 525 893
19 Hotel Transylvania 3: Summer… US Genndy Tartakovsky Sony Pictures 2 479 780
20 Coco US L. Unkrich, A. Molina Walt Disney 2 363 367

Source: BFI, Comscore

Russian Federation

Population 2018 e 143.4 million

GDP per capita 2018 e 10 248 USD

Gross box office 2018 e 50.85 bn RUB (813 M USD)

Admissions 2018 e 202.2 million

Average ticket price 2018 e 251.5 RUB (4.0 USD)

Average admissions per capita 2018 e 1.4

Screens 2017 | 2018 (1) 4 800 | 5 215

Digital screens 2017 | 2018 (2) 4 786 | 5 215

Digital 3D screens 2017 | 2018 (2) 3 709 | 4 010

Admissions and gross box office in Russia (1) | 2014-2018

0
400
300
100
200
2014 2015 2016 2017 2018

20 000

60 000

40 000

50 000

30 000

43 310.5
43 908.0

48 606.8

53 290.4
50 851.2

176.1 17

4.0

192.8

212.2 202.2

Source: Nevafilm

Number of Russian feature films produced | 2014-2018
In units.

Market shares 2018 e
0
200
150
100
50
2014 2015 2016 2017 2018

113

99
14

0 0 0 0 0

133

115

126

111

15
157

135

22
138

123

15
Source: Nevafilm

(1) Source: Nevafilm (2) Source: MEDIA Salles

Maj. co-prod.
Min. co-prod.

Others
71.5%

National
28.5%

Gross box office
(RUB million)

Admissions
(million)

Total
100% national

(1) Excluding admissions and box office for regional films and alternative content screenings.

33
Russian Federation

Top 20 films by admissions in the Russian Federation (1) | 2018

Sources: Nevafilm Research

Distribution and exhibition
After breaking records in 2017, Russian cinema

attendance declined by 4.7% to 202 million admis-
sions in 2018. This makes Russia Europe’s largest
market in terms of admissions for the second con-
secutive year, marginally ahead of France. GBO
decreased proportionally by 4.6% to RUB 50.9 bil-
lion. This is the second highest box office result
in Russia’s recent history. Measured in US dol-
lars however, GBO amounted to only USD 813
million which is well below the levels observed
between 2011 and 2014.

As in 2017 Russian films performed exception-
ally well and saved the market from a more pro-
nounced decline. Three Seconds, a film celebrating
Russia’s victory against the US basketball team at
the 1972 Olympic Games in Munich, became a
run-away success selling over 11.5 million admis-
sions and topped the charts in 2018. A total of
5 Russian films featured among the top 20 and
national market share jumped from 23.8% to a
record high of 28.5%. This represents a significant
increase in terms of both admissions and market
share for Russian films which generally captured
between 16% and 18% of admissions between
2010 and 2016. The growing strength of Russian
cinema is driven by the increasing number of local,
often patriotically themed blockbusters, as well
as protectionist measures by Russia’s ministry of
culture. Nevertheless US studio films continued to
dominate overall box office, representing 15 out

of the top 20 titles, but cumulative admissions to
US films declined as US market share decreased
from 56.7% to 54.8%. This is the lowest level in
the past five years. A new bill effectively restricting
the screenings of films without an official exhi-
bition licence in film festivals entered into force
in November 2018 and may jeopardise many
Russian film festivals.

Walt Disney / Sony Pictures once more led the
distribution market, taking an estimated market
share of 31.0% of total admissions, ahead of Central
Partnership (13.6%), Caro Premier (13.5%), UPI
(11.0%), and 20th Century Fox (10.2%).

Production and funding
Russian film production levels – including

regional films – decreased from a record high
of 157 in 2017 to 138 feature films released in
2018. This is still the second highest level regis-
tered in recent history. Public support for the pro-
duction and distribution of Russian films comes
from the National Cinema Fund which focuses
on films with larger commercial potential, and
the Ministry of Culture, which is responsible e.g.
for debut and experimental films. In late 2018
Russian tycoon Roman Abramovich announced
the launch a private film fund with an annual
budget of USD 15 million. The plan is to fund
between 10 and 15 titles a year.

Sources: Nevafilm Research, Hollywood
Reporter, Screen International, OBS

(1) Data refer to Commonwealth of Independent States (CIS) excluding Ukraine.

Original title
Country
of origin Director Distributor Admissions e

1 Dvizhenie vverkh (Three Seconds) RU Anton Megerdichev Central Partnership 11 530 709
2 Venom US/CN Ruben Fleischer Walt Disney/Sony 7 101 554
3 Avengers: Infinity War US Anthony & Joe Russo Walt Disney/Sony 6 624 683
4 Lyod (Ice) RU Oleg Trofim Walt Disney/Sony 6 080 784
5 Fantastic Beasts: The Crimes of… GB INC/US David Yates Caro Premier 5 434 293
6 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Walt Disney/Sony 5 407 301
7 Deadpool 2 US David Leitch 20 Century Fox 4 801 285
8 Jurassic World: Fallen Kingdom US J.A. Bayona UPI 4 149 122
9 Incredibles 2 US Brad Bird Walt Disney/Sony 4 055 376

10 Bohemian Rhapsody GB INC/US Bryan Singer 20 Century Fox 3 541 707
11 Aquaman AU/US James Wan Caro Premier 3 428 489
12 Black Panther US Ryan Coogler Walt Disney/Sony 3 381 540
13 The Meg US/CN Jon Turteltaub Caro Premier 3 373 181
14 Trener (The Coach) RU Danila Kozlovsky Central Partnership 3 278 691
15 Ralph Breaks the Internet US R. Moore, P. Johnston Walt Disney/Sony 3 233 929
16 Jumanji: Welcome to the Jungle US Jake Kasdan Walt Disney/Sony 3 002 937
17 Smallfoot US K. Kirkpatrick, J. Reisig Caro Premier 2 989 163
18 Tri bogatyrya i printsessa Egipta RU Konstantin Feoktistov Nashe Kino 2 909 692
19 Ant-Man and the Wasp US Peyton Reed Walt Disney/Sony 2 864 492
20 Politseyskiy s Rublyovki. Novogodniy… RU Ilya Kulikov Caroprokat 2 700 899

Poland

Distribution and exhibition

2018 was a strong year for the Polish film industry.
Cinema attendance continued to grow for the
fifth year in a row and reached a record high of
59.7 million admissions, up 5.5% from 2017. This
is the highest level since 1989. GBO takings sur-
passed the PLN 1 billion barrier for the second
consecutive year, climbing by 5% to PLN 1.13 bil-
lion (USD 312 million) as the average ticket price
remained stable at PLN 18.9 (USD 5.2).

The increase in cinema attendance was pri-
marily due to the exceptionally strong performance
of Polish films. For the first time in recent history
the Polish box office was topped by four domestic
titles. Selling almost 5.2 million tickets in 2018, Kler
(Clergy), a film based on real life scandals in the
Catholic church, led the charts and became the
most successful Polish film in the past decade, fol-
lowed by the action drama Kobiety mafii (Women
in Mafia) (2.0 million). Cumulatively Polish films
sold almost 20 million admissions, 6.6 million more
than in 2017. National market share hence jumped
from 23.4% to 33.3% in 2018, the highest level
since 2001. In contrast, admissions to US films
declined somewhat leading to market shares of 52%,

down from 62%. Kino Swiat led Poland’s distribu-
tion market in 2018, taking 31.7% of total admis-
sions, followed by UIP (19.2%), Disney (10.1%)
and Monolith (9.1%).

Production and funding

After reaching a record high of 73 films produced
in 2017, Polish film production volume dropped to
42 films in 2018. The average budget of a Polish
full-length feature film amounted to USD 1.4 mil-
lion. Film production in Poland is publicly sup-
ported by the Polish Film Institute (PISF), which
has an annual budget of USD 29.5 million for pro-
duction, as well as a network of 12 regional funds.
From 2019 onwards Poland is offering a 30% cash
rebate for incoming film, TV, documentary and
animation productions that shoot in Poland. The
rebate will be administered by the PISF which has
an annual budget of USD 52 million for the incen-
tive. The rebate is capped at USD 4 million per
project. The PISF furthermore introduced a new
grant category in 2018 to support micro-budget
productions directed by first filmmakers.

Sources: Polish Film Institute (PISF),
FilmNewEurope, Variety, OBS

(1) Source: Polski Instytut Sztuki Filmowej (PISF), OBS (2) Source: MEDIA Salles

Population 2018 e 38.0 million

GDP per capita 2018 e 15 050 USD

Gross box office 2018 e 1.1 bn PLN (312.3 M USD)

Admissions 2018 e 59.7 million

Average ticket price 2018 e 18.9 PLN (5.2 USD)

Average admissions per capita 2018 e 1.6

Screens 2017 | 2018 (1) 1 304 | 1 243

Digital screens 2017 | 2018 (2) 1 250 | 1 270

Digital 3D screens 2017 | 2018 (2) 710 | 720

National films

produced 2017 | 2018 73 | 42
Others
66.8%

National
33.3%

Market shares 2018 e

Top 10 films by admissions in Poland | 2018

Original title
Country
of origin Director Distributor Admissions

1 Kler (Clergy) PL Wojciech Smarzowski Kino Swiat 5 183 080
2 Kobiety Mafii (Women of Mafia) PL Patryk Vega Kino Swiat 2 037 202
3 Planeta Singli 2 (Planet Single 2) PL Sam Akina Kino Swiat 1 685 864
4 Dywizjon 303. Historia prawdziwa PL/GB Denis Delic Mówi Serwis 1 516 443
5 Incredibles 2 US Brad Bird Disney 1 446 260
6 Wonder US Stephen Chbosky Monolith 1 376 894
7 Fifty Shades Freed US James Foley UIP 1 364 357
8 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky UIP 1 338 859
9 The Grinch US/CN Yarrow Cheney, Scott Mosier UIP 1 297 688

10 Bohemian Rhapsody GB INC/US Bryan Singer Imperial Cinepix 1 227 207

Sources: Polski Instytut Sztuki Filmowej (PISF)/ boxoffice.pl

Turkey

Population 2018 e 80.8 million

GDP per capita 2018 e 10 434 USD

Gross box office 2018 e 896.9 M TRY (185.0 M USD)

Admissions 2018 e 70.4 million

Average ticket price 2018 e 12.7 TRY (2.6 USD)

Average admissions per capita 2018 e 0.9

Screens 2017 | 2018 (1) 2 695 | 2 652

Digital screens 2017 | 2018 (2) 2 630 | 2 652

Digital 3D screens 2017 | 2018 (2) 680 | 704

National films released 2017 | 2018 145 | 175

Market shares 2018 e

(1) Source: DG Sinema (2) Source: MEDIA Salles

Others
36.6%

National
63.4%

Source: Antrakt – Deniz Yavuz

Distribution and exhibition
2018 was a good year for the Turkish cinema

sector. With 70.4 million tickets sold cinema atten-
dance reached its second highest level since the
1980s, only 1% below 2017’s record level of
71.2 million. Boosted by an increase in the average
ticket price GBO revenues actually grew by 3.0%
to reach a new record high of TRY 897 million.
However, measured in US dollars box office earnings
actually declined by 23% due to the double-digit
devaluation of the Turkish lira throughout 2018.

As in past years Turkey was the only European
market where local films managed to gain a market
share of over 50%. In 2018 Turkish films even
accounted for all top 10 films and cumulatively
captured a record market share of 63.4% of total
admissions. Müslüm, a biopic about a famous
Turkish singer, topped the charts selling more
than 6.3 million tickets, followed by war drama
Ayla (5.6 million) and the mainstream comedy
Aile Arasinda (5.3 million). All top 10 titles man-
aged to sell more than two million tickets cumu-
latively capturing 55% of total admissions. With
US films taking a further 27.5% of the market, it
becomes evident that the market niche left for
international and especially local art-house films
is a very small one given the highly concentrated

nature of the Turkish cinema market. The distri-
bution market is dominated by the vertically inte-
grated CGV Mars Media Group which captured
a market share of 43.5% in 2018, followed by
UIP (18%) and TME Films (12%).

Production and funding

A total of 175 Turkish films were released in
2018, 30 more than in 2017. This is the highest
production level in decades. In early 2019 a new
cinema law was adopted and will become effec-
tive as from July. Besides establishing boards to
evaluate the support applications, the new law
aims to put an end to the so called “popcorn”
dispute which came to the fore in 2018 when
leading film producers accused CGV Mars of unfair
revenue sharing as CGV was selling cinema going
packages which combined a discounted ticket
price, which has to be shared with producers,
with popcorn or other merchandise at full price.
The new cinema law now prohibits the sale of
cinema tickets in combination with other prod-
ucts and limits the duration of ads before and
during breaks at screenings.

Sources: Antrakt – Deniz Yavuz, DG Sinema,
SE-YAP, Daily Sabah, Hurriety Daily

Top 10 films by admissions in Turkey | 2018

Original title
Country
of origin Director Distributor Admissions

1 Müslüm TR Ketche, Can Ulkay CGV Mars Dagıtım 6 311 619

Ismail Fidan

CGV Mars Dagıtım

7 Aile Arasinda

Ozan Aciktan

CGV Mars Dagıtım 4 034 858
2 Arif v 216

Kivanc Baruonu

CJET 2 335 735
3 Ailecek Saskiniz

Selçuk Aydemir

CGV Mars Dagıtım 2 106 154
6 Avengers: Infinity War US Anthony & Jo Russo UIP 1 910 545

4 Yol Arkadasim 2

TR/KR

Bedran Güzel

CGV Mars Dagıtım 1 904 856
8 Hefedim Sensin TR Kivanc Baruonu CJET 1 646 492

5 Deliha 2

9 Rafadan Tayfa Dehliz Macerasi

Gupse Ozay

CGV Mars Dagıtım 1 538 932
10 Enes Batur Hayal mi Gerçek mi? Kamil Cetin Tme 1 483 598

4 968 462

TR
TR

Other Western Europe

(1) In units. Including
minority co-produc-
tions and feature
documentaries.

Admissions in selected Western European countries | 2014-2018
In millions.

0
40
20
30
10
2014 2015 2016 2017 2018

30.8

21.6

14.4

12.1

9.0

33.0

21.1

15.9

14.4

9.8

34.2

19.4

15.8

13.4

10.0

6.0

19.6

16.1

13.5

10.1

35.7

8.8

15.8

11.7

9.4

Sources: OFI / Cinedata, VAF, CFWB / Screen Ireland,
CSA / GFC / NFF, MaccsBox – NVB & NVF / ICA / OFS / OBS

Number of feature films produced by selected
Western European countries (1) | 2014-2018
In units.

0
120
100
40
80
60
20
2014 2015 2016 2017 2018

110

70
45
40
32
13
84

109

82
69
40
38

31
29

27 27

43
42
109
82
52

44 44

118

89
36
38

87
75

86
52

Sources: OFI / CFWB-VAF / Screen Ireland / GFC / NFF / ICA / OFS /OBS

Switzerland

The Netherlands
Belgium

(1) National data source (2) Source: MEDIA Salles (3) 2017

Austria
Ireland
Portugal
Greece

Austria Belgium Greece Ireland Netherlands Portugal Switzerland

Population 2018 e (million) 8.8 11.4 10.7 4.8 17.2 10.3 8.5
GDP per capita 2018 e (USD) 49 796 46 316 20 567 74 493 52 016 21 663 83 264
Gross box office 2018 (M USD) 140.0 189.0 70.9 139.6 369.0 92.6 182.7
Admissions 2018 (million) 12.9 18.8 9.4 15.8 35.7 14.7 11.7
Average ticket price 2018 (USD) 10.8 10.1 7.6 8.9 10.3 6.3 15.6
Average admissions per capita 2018 1.5 1.6 0.9 3.3 2.1 1.4 1.4
Screens 2018 e (1) 577 523 (3) 547 (3) 463 956 (3) 580 605
Digital screens 2018 (2) 576 495 444 520 970 528 582
Digital 3D screens 2018 (2) 347 180 160 266 506 255 319
National market shares 2018 e 6.2% 11.0% 7.1% 2.5% 11.2% 1.9% 8.5%

The Netherlands

Belgium e

Ireland
Portugal
Austria
Switzerland
Greece

37
Other Western Europe

Top 10 films by admissions in the Netherlands | 2018

Top 10 films by admissions in Portugal | 2018

Top 10 films by admissions in Belgium | 2018

Top 10 films by admissions in Austria | 2018

Sources: MaccsBox – NVB & NVF

Sources: Austrian Film Institute (OFI) / Comscore

Sources: CFWB, VAF, Cinedata

Source: ICA

Original title
Country
of origin Director Distributor Admissions

1 Bohemian Rhapsody GB INC/US Bryan Singer Warner Bros. 1 372 246
2 Mamma Mia! Here We Go Again US/GB/JP Ol Parker UPI 963 669
3 Fantastic Beasts: The Crimes… GB INC/US David Yates Warner Bros. 926 530
4 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 874 267
5 Incredibles 2 US Brad Bird Walt Disney 852 167
6 Jurassic World: Fallen Kingdom US J.A. Bayona UPI 805 262
7 Black Panther US Ryan Coogler Walt Disney 775 082
8 Ferdinand US Carlos Saldanha Warner Bros. 655 346
9 Mission: Impossible – Fallout US/CN/FR/NO Christopher McQuarrie UPI 636 704

10 Fifty Shades Freed US James Foley UPI 604 816

Original title
Country
of origin Director Distributor Admissions

1 Jurassic World: Fallen Kingdom US J.A. Bayona Sony Pictures 505 295
2 Incredibles 2 US Brad Bird Walt Disney 498 193
3 Fantastic Beasts: The Crimes… GB INC/US David Yates Warner Bros. 483 086
4 Fifty Shades Freed US James Foley Sony Pictures 455 265
5 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 453 609
6 Niet Schieten BE Stijn Coninx Kinepolis Film Distr. 375 067
7 Jumanji: Welcome to the Jungle US Jake Kasdan Sony Pictures 373 758
8 Patser (Gangsta) BE Adil El Arbi, Bilall Fallah Kinepolis Film Distr. 36

8 000

9 Hotel Transylvania 3: Summer… US Genndy Tartakovsky Sony Pictures 359 858

10 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 346 118

Original title
Country
of origin Director Distributor Admissions

1 Incredibles 2 US Brad Bird NOS Luso. Audio. 606

276

2 Bohemian Rhapsody GB INC/US Bryan Singer Big Picture 2 Films 474 015
3 Hotel Transylvania 3: Summer… US Genndy Tartakovsky Big Picture 2 Films 444 323
4 Fifty Shades Freed US James Foley NOS Luso. Audio. 430 487
5 Avengers: Infinity War US Anthony & Joe Russo NOS Luso. Audio. 408

441

6 Deadpool 2 US David Leitch Big Picture 2 Films 385 993
7 A Star Is Born US Bradley Cooper NOS Luso. Audio. 365

124

8 Mamma Mia! Here We Go Again US/GB/JP Ol Parker NOS Luso. Audio. 361 841
9 Johnny English Strikes Again GB/US/FR David Kerr NOS Luso. Audio. 323 351

10 Mission: Impossible – Fallout US/CN/FR/NO Christopher McQuarrie NOS Luso. Audio. 308 818

Original title
Country
of origin Director Distributor Admissions

1 Mamma Mia! Here We Go Again US/GB/JP Ol Parker Universal Pictures 480 496
2 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 411 857
3 Fifty Shades Freed US James Foley Universal Pictures 402 824
4 Fantastic Beasts: The Crimes… GB INC/US David Yates Warner Bros. 339 966
5 Hotel Transylvania 3: Summer… US Genndy Tartakovsky Sony Pictures 337 222
6 The Grinch US/CN Y. Cheney, S. Mosier Universal Pictures 333 969
7 Bohemian Rhapsody GB INC/US Bryan Singer Fox Int’l 322 633
8 Deadpool 2 US David Leitch Fox Int’l 300 581
9 Jurassic World: Fallen Kingdom US J.A. Bayona Universal Pictures 282 438

10 Incredibles 2 US Brad Bird Walt Disney 236 800

Nordic countries

(1) Including minority
co-productions and
feature documentaries.

Admissions in Nordic countries | 2014-2018
In millions.

0
20
10
15
5
2014 2015 2016 2017 2018

16.3

11.9

11.1

7.3

1.4 1.4 1.4 1.4 1.4

17.0

13.8

12.0

8.7

17.8

13.0

8.7

13.1

16.9

11.9

11.8

8.8

16.4

13.0
12.1

8.1

Sources: DFI / FFF / HI / Icelandic Film Centre / NFI / SFI / OBS

Denmark Finland Iceland Norway

Sweden

Population 2018 e (million) 5.8 5.5 0.3 5.3 10.1
GDP per capita 2018 e (USD) 60 634 49 207 83 750 75 341 57 783
Gross box office 2018 (M USD) 180.0 106.7 16.7 169.2 230.7 (3)

Admissions 2018 (million) 13.0 8.1 1.4 12.1 16.4
Average ticket price 2018 (USD) 13.8 13.2 11.5 14.0 13.7 (3)

Average admissions per capita 2018 2.2 1.5 4.1 2.3 1.6
Screens 2018 e (1) 472 358 43 470 808 (4)

Digital screens 2018 (2) 470 344 43 470 841
Digital 3D screens 2018 (2) 262 229 30 301 520
National market shares 2018 e 29.8% 23.6% 11.3% 25.1% 18.7%

Number of feature films produced by Nordic countries (1) | 2014-2018
In units.

0
80
60
40
20
2014 2015 2016 2017 2018
55
56
47
39
15
71
50
45
28
10
62
54
45
25
17
54
68
41
38
13
57
51
49
22
17

Sources: DFI / FFF / Icelandic Film Centre / NFI / SFI / OBS

Sweden

Iceland

Finland

(1) National data source (2) Source: MEDIA Salles (3) 2017 (4) 2016

Denmark
Norway

Norway
Iceland

Denmark
Sweden
Finland

39
Nordic countries

Top 10 films by admissions in Sweden | 2018

Top 10 films by admissions in Norway | 2018

Top 10 films by admissions in Denmark | 2018

Top 10 films by admissions in Finland | 2018

Source: Swedish Film Institute

Source: Film og Kino

Sources: Statistics Denmark / DFI

Source: Finnish Film Foundation

Original title
Country
of origin Director Distributor Admissions

1 Mamma Mia! Here We Go Again US/GB/JP Ol Parker UIP 1 067 716
2 A Star Is Born US Bradley Cooper Warner/Fox 534 733
3 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 504 671
4 Coco US L. Unkrich, A. Molina Walt Disney 480 741
5 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 475 797
6 Black Panther US Ryan Coogler Walt Disney 450 891
7 Ted – för kärlekens skull SE Hannes Holm Fox/Nordisk 413 670
8 Incredibles 2 US Brad Bird Walt Disney 410 738
9 Jurassic World: Fallen Kingdom US J.A. Bayona UIP/Universal 391 021

10 Solsidan (Sunny Side) SE M. Herngren, F. Herngren SF Film 387 435

Original title
Country
of origin Director Distributor Admissions

1 Journal 64 (The Purity of Vengeance) DK/DE Christoffer Boe Nordisk Film Distr. 765 111
2 Så længe jeg lever (The Way to…) DK Ole Bornedal Nordisk Film Distr. 409 811
3 Lykke-Per (A Fortunate Man) DK Bille August Nordisk Film Distr. 394 876
4 Incredibles 2 US Brad Bird Walt Disney 381 972
5 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 363 843
6 Bohemian Rhapsody GB INC/US Bryan Singer Nordisk Film Distr. 355 766
7 Mamma Mia! Here We Go Again US/GB/JP Ol Parker UIP 348 603
8 Coco US L. Unkrich, A. Molina Walt Disney 347 683
9 Ternet ninja (Checkered Ninja) DK Christoffersen, Matthesen Nordisk Film Distr. 328 333

10 Den tid på året (That Time of Year) DK Paprika Steen Nordisk Film Distr. 327 756

Original title
Country
of origin Director Distributor Admissions

1 Mamma Mia! Here We Go Again US/GB/JP Ol Parker UIP 708 436
2 Skjelvet (The Quake) NO John Andreas Andersen Nordisk Film Distr. 589 620
3 Den 12. mann (The 12th Man) NO Harald Zwart Nordisk Film Distr. 426 166
4 Månelyst i Flåklypa (Louis & Luca…) NO Rasmus A. Sivertsen Nordisk Film Distr. 423 116
5 Mission: Impossible – Fallout US/CN/FR/NO Christopher McQuarrie UIP 388 901
6 Incredibles 2 US Brad Bird Walt Disney 370 939
7 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 345 559
8 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 334 967
9 The Grinch US/CN Y. Cheney, S. Mosier UIP 281 481

10 Deadpool 2 US David Leitch 20th Century Fox 275 823

Original title
Country
of origin Director Distributor Admissions

1 Mamma Mia! Here We Go Again US/GB/JP Ol Parker Finnkino 371 503
2 Ilosia aikoja, Mielensäpahoittaja FI Tiina Lymi Nordisk Film Theat. 347 429
3 Bohemian Rhapsody GB INC/US Bryan Singer Nordisk Film Theat. 299 906
4 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 234 354
5 BlacKkKlansman US Spike Lee Finnkino 225 554
6 Incredibles 2 US Brad Bird Walt Disney 225 421
7 Deadpool 2 US David Leitch Nordisk Film Theat. 200 140
8 Oma maa FI Markku Pölönen Nordisk Film Theat. 191 527
9 Fantastic Beasts: The Crimes of… GB INC/US David Yates SF Film Finland 169 204

10 Johnny English Strikes Again GB/US/FR David Kerr Finnkino 162 449

Baltics and Central Europe

Top 10 films by admissions in Hungary | 2018

Top 10 films by admissions in the Czech Republic | 2018

Top 10 films by admissions in Slovakia | 2018

Source: National Film Office

Sources: Czech Film Fund / Unie Filmovvych Distributoru

Source: Slovak Film Institute / UFD

(1) National data source (2) Source: MEDIA Salles

Original title
Country
of origin Director Distributor Admissions

1 Bohemian Rhapsody GB INC/US Bryan Singer CinemArt 1 073 638
2 Avengers: Infinity War US Anthony & Joe Russo Falcon 631 252
3 Po cem muzi touzí (What Men Long…) CZ Rudolf Havlik CinemArt 558 988
4 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Falcon 491 501
5 Fantastic Beasts: The Crimes of… GB INC/US David Yates Vertical Entertainment 473 131
6 Jurassic World: Fallen Kingdom US J.A. Bayona CinemArt 407 221
7 Venom US/CN Ruben Fleischer Falcon 388 925
8 Fifty Shades Freed US James Foley CinemArt 360 449
9 Incredibles 2 US Brad Bird Falcon 351 163

10 Tátova volha (Patrimony) CZ Jirí Vejdelek CinemArt 348 082

Original title
Country
of origin Director Distributor Admissions

1 Mamma Mia! Here We Go Again US/GB/JP Ol Parker UIP-Dunafilm 576 327
2 Avengers: Infinity War US Anthony & Joe Russo Forum-Hungary 573 476
3 Bohemian Rhapsody GB INC/US Bryan Singer Forum-Hungary 534 939
4 Jurassic World: Fallen Kingdom US J.A. Bayona UIP-Dunafilm 417 546
5 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Intercom 406 281
6 Deadpool 2 US David Leitch Forum-Hungary 386 405
7 Valami Amerika 3 (A Kind of America 3) HU Gábor Herendi Vertigo 372 567
8 Venom US/CN Ruben Fleischer Intercom 356 676
9 The Grinch US/CN Y. Cheney, S. Mosier UIP-Dunafilm 341 891

10 Fantastic Beasts: The Crimes of… GB INC/US David Yates Intercom 321 454

Original title
Country
of origin Director Distributor Admissions

1 Bohemian Rhapsody GB INC/US Bryan Singer CinemaArt 323 147
2 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Itafilm 288 582
3 A Star Is Born US Bradley Cooper Continental Film 245

785

4 Fifty Shades Freed US James Foley CinemaArt 199 327
5 Avengers: Infinity War US Anthony & Joe Russo Saturn Entertainment 182 574
6 The Grinch US/CN Y. Cheney, S. Mosier CinemaArt 147 001
7 Jurassic World: Fallen Kingdom US J.A. Bayona CinemaArt 145 250
8 Deadpool 2 US David Leitch CinemaArt 144 720
9 Fantastic Beasts: The Crimes of… GB INC/US David Yates Continental Film 136

613

10 Incredibles 2 US Brad Bird Saturn Entertainment 130 904

Czech Republic Estonia Hungary Latvia Lithuania Slovenia Slovakia

Population 2018 e (million) 10.6 1.3 9.8 1.9 2.8 2.1 5.4
GDP per capita 2018 e (USD) 22 468 21 964 14 742 17 241 18 312 19 128 25 330
Gross box office 2018 (M USD) 101.0 24.4 78.3 21.7 26.5 15.1 39.0
Admissions 2018 (million) 16.3 3.6 15.5 2.5 4.3 2.5 6.0
Average ticket price 2018 (USD) 6.2 6.7 5.1 8.6 6.2 5.9 6.5
Average admissions per capita 2018 1.5 2.8 1.6 1.3 1.5 1.2 1.1
Screens 2018 e (1) 750 66 372 66 79 108 266
Digital screens 2018 (2) 527 81 332 65 62 108 197
Digital 3D screens 2018 (2) 300 43 194 28 32 44 102
Films produced 2018 77 21 18 26 23 21 33
National market shares 2018 e 23.3% 17.9% 6.6% 22.1% 27.8% 5.3% 4.2%

South-Eastern Europe

Top 10 films by admissions in Bulgaria | 2018

Top 10 films by admissions in Romania | 2018

Top 10 films by admissions in Croatia | 2018

Source: Bulgarian National Film Center

Source: Centrul National al Cinematografiei

Source: Croatian Audiovisual Centre

Original title
Country
of origin Director Distributor Admissions

1 Venom US/CN Ruben Fleischer Intercomfilm 426 023
2 Avengers: Infinity War US Anthony & Joe Russo Forum Film 423 564
3 Jumanji: Welcome to the Jungle US Jake Kasdan Intercomfilm 397 872
4 Fifty Shades Freed US James Foley Ro-Image 2000 369

137

5 Bohemian Rhapsody GB INC/US Bryan Singer Odeon Cineplex 365 531
6 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Intercomfilm 362 398
7 Aquaman US James Wan Vertical Ent. 352 736
8 Deadpool 2 US David Leitch Odeon Cineplex 345 584
9 Black Panther US Ryan Coogler Forum Film 328 567

10 The Nun US Corin Hardy Vertical Ent. 302 168

Original title
Country
of origin Director Distributor Admissions

1 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Aleksandra 170 178
2 Avengers: Infinity War US Anthony & Joe Russo Forum Film 145 446
3 Bohemian Rhapsody GB INC/US Bryan Singer Aleksandra 142 244
4 Venom US/CN Ruben Fleischer Aleksandra 133 619
5 The Grinch US/CN Y. Cheney, S. Mosier Forum Film 128 292
6 Fifty Shades Freed US James Foley Forum Film 122 530
7 Jurassic World: Fallen Kingdom US J.A. Bayona Forum Film 117 468
8 Prityazhenie (Attraction) BG Martin Makariev BS Films 112 934
9 Incredibles 2 US Brad Bird Forum Film 107 499

10 Peter Rabbit US/AU Will Gluck Aleksandra 97 714

Original title
Country
of origin Director Distributor Admissions

1 Bohemian Rhapsody GB INC/US Bryan Singer Blitz Film & Video 193 487
2 The Grinch US/CN Y. Cheney, S. Mosier Editus 154 443
3 A Star Is Born US Bradley Cooper Blitz Film & Video 131 989
4 Avengers: Infinity War US Anthony & Joe Russo 2iFilm 125 962
5 Deadpool 2 US David Leitch Blitz Film & Video 122 021
6 Mamma Mia! Here We Go Again US/GB/JP Ol Parker Editus 110 995
7 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Continental Film 106 814
8 The Nun US Corin Hardy Blitz Film & Video 90 235
9 Venom US/CN Ruben Fleischer Continental Film 88 283

10 Aquaman US James Wan Blitz Film & Video 87 820

BA (3) Bulgaria Croatia Cyprus Georgia Montenegro Romania

Population 2018 e (million) 3.5 7.1 4.1 0.9 3.7 0.6 19.5
GDP per capita 2018 e (USD) 4 837 8 701 13 958 26 742 4 529 7 623 11 817
Gross box office 2018 (M USD) 3.6 27.8 23.1 7.2 4.5 1.3 66.8
Admissions 2018 (million) 1.2 4.9 4.6 0.8 1.3 0.3 13.3
Average ticket price 2018 (USD) 3.0 5.7 5.0 9.5 3.5 4.5 5.0
Average admissions per capita 2018 0.3 0.7 1.1 0.9 0.3 0.5 0.7
Screens 2018 e (1) 34 218 185 32 26 22 404
Digital screens 2018 (2) ~ 225 185 35 26 ~ 386
Digital 3D screens 2018 (2) ~ 171 120 13 19 ~ 227
Films produced 2018 11 21 36 ~ 11 5 50
National market shares 2018 e 0.5% 7.9% 1.2% ~ 4.3% 0.4% 3.2%
(1) National data source (2) Source: MEDIA Salles (3) Bosnia-Herzegovina

North America

Market shares 2018 e

Admissions and gross box office in the US & Canada | 2014-2018

1 600

1 400

1 000
1 200
2014 2015 2016 2017 2018
8 000
4 000
0

16 000

12 000
10 357

1 268

11 136

1 321

11 375

1 315

11 121

240

11 881

1 304

Source: MPAA

Number of US (1) and Canadian feature films produced | 2014-2018
In units.

0
400
200
1 000
800
600
2014 2015 2016 2017 2018

708

482

363

226

119

117

785

495

385

290

132

110

790

511

412

279
105
99

825

549

441
276
112

108

576

469

105

107

Sources: MPAA, CMPA

Others US
7.1%

Others CA (3)
96.8% National US

92.9%

National CA (3)
3.2%

Admissions
(million)

Gross box office
(USD million)

US films produced (3)

(1) English-language films (including co-productions). Does not include
documentaries, films with budgets below USD 200 000, student
films and works not intended for theatrical release.

(2) Restated series. Based on fiscal year ending in March of the stated year.

(3) MPAA stopped publishing information on films with budgets under
USD 1 million.

US films with budget
above USD 1 mio.
US films produced by
non-MPAA members
(>USD 1 mio)
US films produced by
non-MPAA members
(

US films produced by
MPAA members
CA films produced (2)

North America US Canada

Population 2018 e (million) 364.5 327.5 37.0
GDP per capita 2018 e (USD) 60 263 61 687 47 658
Gross box office 2018 e (M USD) (1) 11 881.4 10 867.6 1 003.3
Admissions 2018 e (million) (1) 1 304.2 1 185.1 109.4
Average ticket price 2018 e (USD) (1) 9.11 9.17 9.17
Average admissions per capita 2018 e 3.6 3.6 3.0
Screens 2018 e 43 459 40 317 3 142
Digital screens 2018 e 43 459 40 317 3 142
Digital 3D screens 2018 e 16 933 15 477 1 456
(1) North American figures differ slightly from US and Canada combined as different sources were used: MPAA for North America

and Comscore for US and CA. (2) Arithmetic mean. (3) 2017

43
North America

Sources: LUMIERE/OBS, Comscore

Distribution and exhibition
After declining in 2017, North American GBO

rebounded in 2018, reaching a new record high
of USD 11.9 billion, up 6.8% on the previous year.
As the average ticket price increased only mar-
ginally, the upturn in box office collections was
primarily due to a rise in admissions (1.3 billion,
up 5.2% compared to 2017), driven by the good
box office performance of several breakout hits.

Bucking a long-established growing trend,
the number of films released dropped to 758 in
2018, down from 785 in 2017. In line with pre-
vious years, admissions were highly concentrated
at the top end, as the top 20 films accounted for
52.9% of the total ticket sold.

Two superhero blockbusters took the top slots
in the box office chart, as Black Panther ranked
first (taking 76.3 million admissions), followed by
Avengers: Infinity War (74.0 million admissions).
Disney’s Incredibles 2 came third with 66.4 mil-
lion tickets sold, becoming the highest-grossing
animation film ever in North America. In Canada,
the most successful local productions were three
Quebec features: the comedy 1991 (325 993
admissions), followed by the biopic La Bolduc
and the thriller La chute de l’empire américain.

The total number of screens increased to 43 459,
with 243 new screens opening during 2018. The
theatrical infrastructure in US and Canada is now
fully digitised.

Production and funding

The number of US film productions with a
budget of at least USD 1 million grew to 576 titles
in 2018, compared to 549 for the previous year,
while from 2018 figures for films with a budget
under USD 1 million are no longer tracked by
MPAA. The hike in the number of films produced
was led by non-MPAA members (469 titles com-
pared to 441 in 2017) while Hollywood major
studio productions remained stable (107 titles,
one less than in 2017). The US media landscape
is undergoing considerable consolidation, with
AT&T merging with Time Warner and Disney
acquiring 20th Century Fox (which reduces the
number of the largest Hollywood studios from
six to five). 2019 has seen Netflix join the ranks
of the MPAA; the first non-Hollywood studio to
become a member of the association.

Canada produced 105 feature films during
the fiscal year 2017-2018, down from 112 in
2016-2017, for a total production investment
of CAD 303 million (USD 227.8 million), up
5.9% on the previous year. The investment in
French-language production fell by 26% to CAD
74 million (USD 55.6 million). Public funding con-
tinued to play an important role for the sector,
accounting for 58% of the total financing invest-
ment of Canadian feature films.

Sources: MPAA, CMPA, Telefilm Canada, Variety,
The Hollywood Reporter, Comscore, Playback, OBS

Top 20 films by admissions in North America | 2018 e

Original title
Country
of origin Director

Distributor Admissions

1 Black Panther US Ryan Coogler Walt Disney 76 342 374
2 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 74 025 679
3 Incredibles 2 US Brad Bird Walt Disney 66 366 603
4 Jurassic World: Fallen Kingdom US J.A. Bayona Universal Pictures 45 552 863
5 Deadpool 2 US David Leitch 20th Century Fox 36 050 182
6 The Grinch US/CN Y. Cheney, S. Mosier Universal Pictures 29 275 216
7 Aquaman US James Wan Warner Bros. 24 975 015
8 Mission: Impossible – Fallout US/CN/FR/NO Christopher McQuarrie Paramount 24 008 626
9 Ant-Man and the Wasp US Peyton Reed Walt Disney 23 625 817

10 Solo: A Star Wars Story US Ron Howard Walt Disney 23 311 616
11 Venom US/CN Ruben Fleischer Sony Pictures 23 268 376
12 A Star Is Born US Bradley Cooper Warner Bros. 21 971 196
13 Jumanji: Welcome to the Jungle US Jake Kasdan Sony Pictures 21 401 036
14 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 20 858 978
15 A Quiet Place US John Krasinski Paramount 20 504 292
16 Ralph Breaks the Internet US Rich Moore, Phil Johnston Walt Disney 19 899 582
17 Crazy Rich Asians US Jon Chu Warner Bros. 18 979 777
18 Hotel Transylvania 3: Summer… US Genndy Tartakovsky Sony Pictures 18 127 986
19 Halloween US David Gordon Green Universal Pictures 17 376 447
20 Fantastic Beasts: The Crimes… GB INC/US David Yates Warner Bros. 17 165 602

44
Latin America

Sources: OIA (*), Comscore

Admissions in Latin America | 2014-2018
In millions.

0
400
200
300
100
2014 2015 2016 2017 2018

155.6

46.9

6.0

240.0

173.0

59.1

7.1

286.0

184.3

61.7

7.4

321.0

181.3

62.6

7.6

338.0

161.1

64.0

7.4

320.0
Mexico

Brazil

Colombia
Peru

Argentina

Chile
Venezuela
Costa Rica

Argentina Brazil Chile Colombia Costa Rica

Population 2018 e (million) 44.6 209.2 18.6 49.8 5.0
GDP per capita 2018 e (USD) 14 342 10 514.6 14 274.4 6 472.3 12 144.5
Gross box office 2018 (M USD) 210.2 666.4 140.8 187.5 38.7
Admissions 2018 (million) 46.4 161.1 27.8 64.0 7.4
Average ticket price 2018 (USD) 4.5 4.1 5.1 2.9 5.2
Average admissions per capita 2018 1.0 0.8 1.5 1.3 1.5
Screens 2018 982 3 356 411 (1) 1 090

170

Digital screens 2018 e 939 3 356 410 (1) 1 090 155
Digital 3D screens 2018 e 560 1 756 ~ 473 9
National market shares 2018 14.7% 15.1% 2.5% e 3.4% 0.1%
(1) 2017

Number of national feature films released in Latin America | 2014-2018
In units.

0
250
200
150
100
50
2014 2015 2016 2017 2018

173

114

68
52
28
7
185
133
80
39
6
200

142

90
43
25
2
26
220
160
88
44
37
12
238

171

115
42
8

Sources: OIA (*)

Argentina
Brazil

Mexico

Colombia
Chile
Peru
Venezuela
Costa Rica

(*) INCAA, ANCINE, Chilean Min. Cult., Colombian Min. Cult., CCPC, IMCINE, Peruvian Min. Cult., CNAC.

45
Latin America

Dominican Republic Ecuador Mexico Peru Venezuela

Population 2018 e (million) 10.3 17.0 124.7 32.2 31.8
GDP per capita 2018 e (USD) 7 733.3 5 855.9 10 020.8 6 892.2 6 528.5
Gross box office 2018 (M USD) 24.6 80.9 848.4 169.0 1.7
Admissions 2018 (million) 6.5 17.9 320.0 50.5 15.8
Average ticket price 2018 (USD) 3.8 4.5 2.7 3.3 0.1
Average admissions per capita 2018 0.6 1.1 2.6 1.6 0.5
Screens 2018 201 324 7 024 634 424
Digital screens 2018 e 201 235 7 024 634 404
Digital 3D screens 2018 e 40 142 2 518 ~ 125
National market shares 2018 21.0% 0.6% 9.0% 13.4% 5.9%

Overview

Aggregated data for the ten Latin American mar-
kets covered in this report show a 6.1% decline in
cumulative cinema attendance for 2018 to 717.4
million admissions, following three years of con-
secutive growth. The downturn can be ascribed to
a decrease in admissions in the two biggest Latin
American markets, Brazil (-11.1%) and Mexico
(-5.3%), but also to a slump in Venezuela (-31%).
Conversely, the volume of Latin American film
released in 2018 grew to a total of 700 films,
up 9% on 2017 and 34% compared with 2014,
driven by a hike in Mexico (+27 films), Argentina
(+18) and Brazil (+11). The overall number of
screens for the region increased by 4.4% to a
total of 14 191 in 2018, showing 23.3% growth
over the last five years.

Mexico

In 2018, cinema attendance decreased by
5.3% to 320 million tickets sold, bucking the
upward trend of the three previous years. Once
again, Hollywood blockbusters dominated the
box office, with the 10 highest-grossing titles, all
of them US films, capturing about 37% of total
admissions. The national market share went down
from 9% to 7% in 2018; the most successful
local title in terms of admissions was the comedy
Ya veremos, selling 4.1 million tickets. The number
of domestic films produced rose to 186 titles (ten
more than in 2017), an increase also reflected in
the number of local features released (115, up
from 88 in 2017). The theatrical infrastructure,
fully digital since 2017, added 391 new screens
in 2018.

Brazil

2018 saw Brazilian cinema attendance decrease
by 11.1% to 161.1 million admissions, with GBO
following suit down to BRL 2.4 billion (USD 666
million). National market share increased from

9.6% to 15.1%, driven by the exceptional suc-
cess of local blockbuster Nada a perder (Nothing to
Lose), ranking second in the box office chart with
a total of 12.2 million tickets sold and accounting
alone for about 50% of admissions to local films.
Local film production has been on the rise since
2014, and a total of 171 national films received a
theatrical release in 2018 (11 more titles than in
2017). Brazil unveiled 136 new screens in 2018,
making a total number of 3 356. With only 16
screens per million inhabitants, one of the lowest
screen densities in Latin America, the country’s
theatrical infrastructure still presents scope for
development. In April 2019, amid political ten-
sions, the national public funding agency ANCINE
announced the suspension of all its support pro-
grams, following a government investigation over
accounting procedures.

Argentina

Admissions in Argentina declined for the third
year in a row to 46.4 million in 2018, down 6.3% on
the previous year. In turn, GBO revenues increased
by 13.2% to ARS 5.5 billion (USD 210 million),
due to a high inflation rate in 2018. The share
of admissions captured by national titles slightly
increased to 14.7%, with crime drama El Ángel
being the only local film in the top 10, taking
1.4 million admissions (corresponding to 20%
of admissions to local films).

Production volume continued growing at a
sustained pace, with the number of national film
released rising to 238 titles in 2018. In 2018 ARS
1.06 trillion (USD 40.5 million) were allocated by
the National Institute of Cinema and Audiovisual
Arts (INCAA) in different forms of direct support
to the audiovisual industry, the highest figure in
the last eight years.

Sources: Observatorio Iberoamericano
del Audiovisual (OIA), INCAA, IMCINE, ANCINE,

Screen International, Variety, OBS

46
Latin America

Top 10 films by admissions in Argentina | 2018

Top 10 films by admissions in Chile | 2018

Top 10 films by admissions in Brazil | 2018

Top 10 films by admissions in Colombia | 2018

Sources: OIA, INCAA

Source: Comscore

Sources: OIA, ANCINE

Sources: OIA, Colombian Ministry of Culture

Original title
Country
of origin Director Admissions

1 Incredibles 2 US Brad Bird 3 601 798
2 Coco US Lee Unkrich, Adrian Molina 3 203 429
3 Avengers: Infinity War US Anthony Russo, Joe Russo 2 915 842
4 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 2 571 868
5 Jurassic World: Fallen Kingdom US J. A. Bayona 2 363 567
6 Bohemian Rhapsody GB INC/US Bryan Singer 1 449 526
7 El Ángel (The Angel) AR/ES Luis Ortega 1 364 153
8 Jumanji: Welcome to the Jungle US Jake Kasdan 1 338 926
9 The Nun US Corin Hardy 1 173 659

10 Deadpool 2 US David Leitch 1 038 272

Original title
Country
of origin Director Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 2 338 642
2 Incredibles 2 US Brad Bird 1 832 336
3 Jurassic World: Fallen Kingdom US J.A. Bayona 1 467 761
4 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 1 335 777
5 Coco US Lee Unkrich, Adrian Molina 1 221 012
6 Deadpool 2 US David Leitch 1 113 689
7 Bohemian Rhapsody GB INC/US Bryan Singer 1 058 626
8 The Nun US Corin Hardy 1 047

618

9 Black Panther US Ryan Coogler 882 785

10 Ferdinand US Carlos Saldanha 756 194

Original title
Country
of origin Director Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 14 501 280
2 Nada a Perder (Nothing to Lose) BR Alexandre Avancini 12 184 373
3 Incredibles 2 US Brad Bird 9 809 291
4 Black Panther US Ryan Coogler 7 438 252
5 Aquaman US James Wan 5 584 309
6 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 5 375 364
7 The Nun US Corin Hardy 5 293 026
8 Jurassic World: Fallen Kingdom US J. A. Bayona 5 258 742
9 Jumanji: Welcome to the Jungle US Jake Kasdan 4 772 758

10 Venom US/CN Ruben Fleischer 4 605 459

Original title
Country
of origin Director Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 4 375 070
2 Incredibles 2 US Brad Bird 3 838 628
3 Jumanji: Welcome to the Jungle US Jake Kasdan 2 568 000
4 The Nun US Corin Hardy 2 477 489
5 Jurassic World: Fallen Kingdom US J. A. Bayona 2 355 807
6 Black Panther US Ryan Coogler 2 225 683
7 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 2 025 633
8 Venom US/CN Ruben Fleischer 1 814 719
9 Deadpool 2 US David Leitch 1 701 728

10 The Meg US/CN Jon Turteltaub 1 571 694

47
Latin America

Top 10 films by admissions in Ecuador | 2018

Top 10 films by admissions in Mexico | 2018

Top 10 films by admissions in Peru | 2018

Sources: OIA, ICCA

Sources: OIA, IMCINE

Sources: OIA, Peruvian Ministry of Culture

Original title
Country
of origin Director Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 1 359 828
2 Coco US Lee Unkrich, Adrian Molina 1 166 849
3 The Nun US Corin Hardy 705 861
4 Incredibles 2 US Brad Bird 702 103
5 Black Panther US Ryan Coogler 650 291
6 Jurassic World: Fallen Kingdom US J. A. Bayona 608 520
7 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 560 193
8 Venom US/CN Ruben Fleischer 486 167
9 Ralph Breaks the Internet US Rich Moore, Phil Johnston 457 778

10 Deadpool 2 US David Leitch 438 840

Original title
Country
of origin Director Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 21 530 855
2 Incredibles 2 US Brad Bird 15 249 092
3 Jurassic World: Fallen Kingdom US J. A. Bayona 13 768 259
4 Overboard US Rob Greenberg 11 520 860
5 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 11 007 606
6 Black Panther US Ryan Coogler 10 371 914
7 Venom US/CN Ruben Fleischer 8 911 408
8 Aquaman US James Wan 8 796 948
9 The Nun US Corin Hardy 8 421 026

10 Deadpool 2 US David Leitch 8 115 994

Original title
Country
of origin Director Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 3 138 943
2 ¡Asu Mare! 3 PE Jorge Ulloa 2 007 379
3 Jurassic World: Fallen Kingdom US J. A. Bayona 1 802 151
4 Incredibles 2 US Brad Bird 1 776 909
5 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 1 719 543
6 Jumanji: Welcome to the Jungle US Jake Kasdan 1 544 171
7 Venom US/CN Ruben Fleischer 1 397 814
8 Black Panther US Ryan Coogler 1 366 927
9 The Nun US Corin Hardy 1 326 577

10 The Meg US/CN Jon Turteltaub 1 220 075

Top 10 films by admissions in Venezuela | 2018

Sources: OIA, CNAC

Original title
Country
of origin Director Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 1 655 346
2 Incredibles 2 US Brad Bird 1 391 712
3 Coco US Lee Unkrich, Adrian Molina 1 067 809
4 Jumanji: Welcome to the Jungle US Jake Kasdan 1 031 124
5 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 940 115
6 Black Panther US Ryan Coogler 730 617
7 Papita 2da Base VE Luis Carlos Hueck 708 593
8 Jurassic World: Fallen Kingdom US J. A. Bayona 569 988
9 Fifty Shades Freed US James Foley 413 284

10 The Nun US Corin Hardy 386 978

Australia and New Zealand

(1) By GBO

Admissions and gross box office in Australia and New Zealand | 2014-2018

0
160
80
120
40
2014 2015 2016 2017 2018
0
900
600
300
1 500
1 200

78.6

14.9

1 074.6

1 226.3

90.2

15.5

193.0

1 259.3

91.3

16.0

206.6

1 201.3

85.0

15.8

189.7 203.4

16.7

1 245.1

89.8

183.1

Sources: MPDAA, Screen Australia, MPDA, NZ Film Commission

Number of Australian and New Zealand feature films produced | 2014-2018
In units.

0
40
60
20
2014 2015 2016 2017 2018
40
37
28
3
41
39
26
2
38
37
20
1
49
46
27
3
38
33
25
5

Sources: Screen Australia, NZ Film Commission

(1) Films with budgets below AUD 0.5 million are only included if
they had a theatrical release or major festival screening.

(2) Includes films under Australian creative control that were 100%
foreign financed.

(3) Refers to the fiscal year ending that year

(4) Does not include unofficial co-productions
(5) Restated series. Feature films made in New Zealand with a

theatrical release in the country or a paid screening in a NZ
public film festival and/or available on a SVOD or TVOD platform;
PDV only films are not included; official co-productions included.

Market shares 2018 (1) e

National AU
4.5%

National NZ
2.4%

Others AU
95.5%Others NZ

97.6%

Australia New Zealand

Population 2018 e (million) 25.1 4.9
GDP per capita 2018 e (USD) 58 940.7 44 069.3
Gross box office 2018 (M USD) 930.7 140.8
Admissions 2018 (million) 89.8 16.7
Average ticket price 2018 (USD) 10.36 8.4
Average admissions per capita 2018 3.6 3.4
Screens 2018 2 278 449
Digital screens 2018 e 2 100 449
Digital 3D screens 2018 971 184

New Zealand (5)

AU co-prod. (1)(3)(4)

AU Admissions
(million)

NZ Gross box office
(NZD million)

AU Gross box office
(AUD million)

NZ Admissions
(million)

Total Australia (1)(3)(4)

100% AU (1)(2)(3)

Australia and New Zealand

Distribution and exhibition

After dropping in 2017, Australian cinema
attendances bounced back in 2018, growing by
5.6% to 89.8 million tickets sold. GBO increased
by 3.6%, to AUD 1.25 billion (USD 931 million).
New Zealand’s box office also went up in 2018,
with admissions increasing 5.6% to 16.7 million
and GBO going up 7.3% to NZD 203.4 million
(USD 141 million), marking the second best year
in terms of revenues after 2016.

In both markets, the uplift was driven by the
success of Hollywood hits, headed by the box-
office winner Avengers: Infinity War. The national
market share marginally increased in both territo-
ries, to reach 4.5% in Australia and 2.4% in New
Zealand. In Australia the highest-grossing local
titles were the US co-production Peter Rabbit and
the comedy Ladies in Black, while in New Zealand
The Breaker Upperer was the top domestic pro-
duction in terms of box office.

Production and funding

Although in 2018 Australian production volume
declined to 38 films (11 films less than in 2017),
overall production spend increased by 11.8%

compared to 2017 to AUD 321 million (USD
240 million), up 28.9% on the five-year average.
Co-production expenditure reached a record high
of AUD 143 million (USD 107 million), driven by
three Chinese and two European co-productions.
In a bid to attract investments and boost the
local industry, Australia has nearly doubled its
shooting incentive schemes for foreign produc-
tions, increasing production rebates from 16.5%
to 30% on qualifying production expenditure
starting from the year 2019/2020 and extending
incentives to streaming platforms.

In New Zealand 25 feature films were produced
in 2018, compared to 27 films the previous year.
The total film production and post-production
spend fell by 39.4% to NZD 295 million (USD
204 million). The New Zealand Film Commission
launched initiatives aimed at supporting the Maori
film industry and introduced a feature film fund
for projects with at least two women in key cre-
ative roles. In 2018 the country also initiated a
review of the national Copyright Act.

Sources: Screen Australia, MPDAA, MPDA,
NZ Film Commission, Stats NZ, Variety,

Hollywood Reporter, OBS

Top 10 films by admissions in Australia | 2018 e
Estimated admissions based on average ticket price of AUD 13.9.

Top 10 films by admissions in New Zealand | 2018 e
Estimated admissions based on average ticket price of NZD 12.2.

Original title
Country
of origin Director

Distributor Admissions e

1 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 4 463 789
2 Incredibles 2 US Brad Bird Walt Disney 3 302 213
3 Bohemian Rhapsody (1) GB INC/US Bryan Singer 20th Century Fox 3 059 785
4 Black Panther US Ryan Coogler Walt Disney 2 943 791
5 Deadpool 2 US David Leitch 20th Century Fox 2 600 915
6 Jurassic World: Fallen Kingdom US J.A. Bayona Universal 2 563 904
7 Jumanji: Welcome to the Jungle US Jake Kasdan Sony Pictures 2 375 381
8 A Star Is Born (1) US Bradley Cooper Warner Bros. 2 368 437
9 The Greatest Showman US Michael Gracey 20th Century Fox 1 990 055

10 Peter Rabbit US /AU Will Gluck Sony Pictures 1 930 066

Original title
Country
of origin Director

Distributor Admissions e

1 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 849 476
2 Incredibles 2 US Brad Bird Walt Disney 636 486
3 Black Panther US Ryan Coogler Walt Disney 595 280
4 Jumanji: Welcome to the Jungle (1) US Jake Kasdan Sony 558 150
5 Mamma Mia! Here We Go Again US/GB/JP Ol Parker Universal 508 958
6 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 501 920
7 A Star Is Born US Bradley Cooper Warher Bros. 444 889
8 Jurassic World: Fallen Kingdom US J.A. Bayona Universal 418 165
9 Deadpool 2 US David Leitch 20th Century Fox 409 919

10 The Greatest Showman (1) US Michael Gracey 20th Century Fox 382 987

Source: MPDAA

Source: MPDA

(1) Still grossing in 2019.

(1) Films released in late 2017. Admissions refer to lifetime box office.

People’s Republic of China

(1) As per end of June 2018. (2) 2016. (3) By GBO.

Population 2018 e 1 399 million

GDP per capita 2018 e 9 377 USD

Gross box office 2018 e 60.98 bn CNY (9.24 bn USD)

Admissions 2018 e 1.72 billion

Average ticket price 2018 e 35.5 CNY (5.4 USD)

Average admissions per capita 2018 e 1.2

Screens 2017 | 2018 e 50 776 | 60 079

Digital screens 2017 | 2018 e 47 097 | 55 623 (1)

Digital 3D screens 2017 | 2018 e (2) 32 943 | 49 000 (1)

Market shares 2018 (3)

Admissions and gross box office in China | 2014-2018 e

0
3 000
1 000
2 000
2014 2015 2016 2017 2018
0

75 000

50 000

25 000

29 640

44 092
46 000

55 900
60 980

830

1 260
1 370

1 620
1 720

Sources: China Bureau of Film, China Media Management, Variety

Number of feature films produced in China | 2014-2018 e

In units.
300
1 200
600
900
2014 2015 2016 2017 2018
618

686

944
970

1 082

Sources: China Bureau of Film, China Media Management, Variety

(1) Does not include films produced outside the official system of script and final print approval.

Others
37.8%

National
62.2%

Feature films
produced (1)

Admissions
(million) e

Gross box office
(CNY million)

51
People’s Republic of China

Distribution and exhibition
2018 saw China confirming its position as

the world’s largest cinema market by number of
admissions for the third year in a row. Cinema
attendance increased by 6.2% on the previous
year to 1.72 billion tickets sold, more than twice
as many as in 2014. Chinese box office revenues
increased by 9.1% in 2018 to CNY 60.98 billion
(USD 9.24 billion), slowing down compared to the
21.5% growth rate registered in 2017. However,
it must be noted that official Chinese box office
reports for 2017 and 2018 include service fees
charged by online ticketing companies, which
may exaggerate the actual GBO growth.

Domestic productions captured 62.2% of total
box office receipts, up from 53.8% in the previous
year, with six Chinese features among the 10 top-
grossing films. The action war film Operation Red
Sea topped the chart with 91.8 million admissions,
followed by the comedy-drama Dying to Survive
(88.2 million) and Detective Chinatown 2 (86.5
million). The top-grossing US film was the latest
installment of the Avengers franchise: Avengers:
Infinity War, coming in fifth place with 61.9 mil-
lion admissions.

The country’s theatrical infrastructure con-
tinued to grow at a steady pace, with 9 303 new
screens unveiled in 2018, up 18.3% on 2017, for
a total of 60 079 screens nationwide.

Production and funding
Production volume in China increased to 1 082

features in 2018 (112 more than in the previous
year, marking a 75.1% jump compared to 2014),
although only a limited number of these films
received a theatrical release.

As part of a broader governmental restruc-
turing, in 2018 China dissolved the country media
regulator (SAPPRFT), setting up a new national
Bureau of Film, under the direct jurisdiction of the
Publicity Department. While the move is expected
to further tighten governmental control over the
film industry, the transition resulted in a slow-
down of the censorship clearance process for
many imported productions. The creation of an
ethics committee for the Chinese film industry
has been announced in response to a series of
scandals and tax-evasion allegations involving
high-profile personalities.

Negotiations between US and China over film
import quotas and revenue-sharing for US films,
initiated in 2017, are now on hold, amid polit-
ical tensions between the two countries and the
overhaul of the Chinese regulatory structure. In
turn, China has loosened restrictions for main-
land-Hong Kong co-productions.

Sources: China Bureau of Film, Variety, Screen
International, IHS Markit, Comscore

English Title
Country
of origin Director Admissions

1 Operation Red Sea CN/MA/HK Dante Lam 91 830 774
2 Dying to Survive CN Muye Wen 88 242 511
3 Detective Chinatown 2 CN Sicheng Chen 86 470 362
4 Hello Mr. Billionaire CN Fei Yan, Da-Mo Peng 72 207 712
5 Avengers: Infinity War US Anthony Russo, Joe Russo 61 912 779
6 Monster Hunt 2 CN Raman Hui 57 448 786
7 Aquaman US James Wan 52 530 874
8 Venom US/CN Ruben Fleischer 52 036 028
9 Jurassic World: Fallen Kingdom US J.A. Bayona 47 132 372

10 Us and Them CN Rene Liu 39 753 349
11 The Island CN Bo Huang 38 760 801
12 Ready Player One US Steven Spielberg 37 751 073
13 Project Gutenberg CN/HK Felix Chong 35 207 991
14 The Ex-File 3: Return of the Exes CN Yusheng Tian 33 920 755
15 Mission: Impossible – Fallout US/CN/FR/NO Christopher McQuarrie 33 527 178
16 Rampage US Brad Peyton 28 587 808
17 The Meg US/CN Jon Turteltaub 27 239 344
18 How Long Will I Love You CN Su Lun 26 879 341
19 Secret Superstar IN Advait Chandan 24 123 307
20 Forever Young CN Fangfang Li 23 687 531

Top 20 films by admissions in China | 2018

Source: Comscore

Japan

Population 2018 e 126.4 million

GDP per capita 2018 e 40 063 USD

Gross box office 2018 222.5 bn JPY (2.02 bn USD)

Admissions 2018 169.2 million

Average ticket price 2018 1 315 JPY (11.9 USD)

Average admissions per capita 2018 1.3

Screens 2017 | 2018 3 525 | 3 561

Digital screens 2017 | 2018 3 453 | 3 494

Digital 3D screens 2017 | 2018 1 214 | 1 232

Market shares 2018 e (1)

(1) By GBO

Admissions and gross box office in Japan | 2014-2018

120
240
180

210

150
2014 2015 2016 2017 2018
150

190

170
210

230

250
161.1

207.0

217.1

166.6

235.5

180.2

228.6

174.5

222.5

169.2

Source: EIREN

Number of Japanese feature films released | 2014-2018

In units.
400
800
500
600

700

2014 2015 2016 2017 2018

615
581 610 594

613
Source: EIREN

Others
45.2%

National
54.8%

Gross box office
(JPY billion)

Admissions
(million)
National films

53
Japan

Top 20 films by admissions in Japan | 2018 e

Estimated admissions based on average ticket price of JPY 1 315.

Distribution and exhibition
Japan registered a 3% dip in cinema atten-

dance in 2018. Admissions declined to 169.2 mil-
lion from 174.5 million in 2017, still the third
best result since 2010. Similarly, GBO dropped
by 2.7% on the previous year to JPY 222.5 bil-
lion (USD 2.02 billion). Once again local content
dominated the box office in 2018, as Japanese
films made up 31 of the 54 titles crossing the
1 JPY million benchmark, compared to 23 for-
eign titles, mainly Hollywood blockbusters. The
domestic market share remained stable, with local
productions taking 54.8% of the GBO.

Bohemian Rhapsody topped the charts, racking
up almost eight million admissions, boosted by a
number of special karaoke sing-along screenings.
Other top ranking imports include Jurassic World:
Fallen Kingdom (6.1 million) and Star Wars: The Last
Jedi, followed by the musical drama The Greatest
Showman (4.0 million). The domestic hit Code
Blue, a spin-off of a TV drama on a medical heli-
copter team, ranked second place, with 7.1 million
admissions. Among the highest-grossing domestic
films were the new installments of long-running
anime franchises (Detective Conan and Doraemon)
as well as the 2018 Palme-d’Or-winning drama
Shoplifters.

The 20 top-grossing titles accounted for 46.4%
of GBO, showing a higher level of concentra-
tion than in 2017 (42.9%). The country’s theat-

rical infrastructure, by now almost fully digitised
(98%), underwent a marginal expansion, reaching
3 561 screens in 2018, 1% up from 3 525 in 2017.

Production and funding

The total number of film releases grew margin-
ally to 1 192 films in 2018, five more than in the
previous year. Notably, the number of Japanese
first releases rose to 613 films, marking a 3.2%
increase on 2017. Animation remains a pivotal
part of the Japanese film sector. According to the
Association of Japanese Animation (AJA), the coun-
try’s animation industry reached a total value of
over JPY 2.15 trillion (USD 19.5 billion) in 2017,
showing an 8% increase on 2016, this growth
mainly driven by an increase in exports (+29.6%)
and streaming revenues (13%). However, only six
animation features generated more than 1 JPY mil-
lion, breaking down as four local animations and
Disney’s Coco and Incredibles 2.

In an attempt to tackle the rampant levels of
online piracy of manga and anime content, the
government announced emergency measures such
as restricting the access to websites that provide
links for the illegal download of content under
copyright as well as a comprehensive reform to
Japanese copyright law.

Sources: EIREN, AJA, Variety, The Hollywood Reporter

English Title
Country
of origin Director Distributor Admissions

1 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 7 954 373
2 Code Blue JP Masaki Nishiura Toho 7 072 243
3 Detective Conan: Zero the Enforcer JP Yuzuru Tachikawa Toho 6 980 989
4 Jurassic World: Fallen Kingdom US J.A. Bayona Toho/Towa 6 136 882
5 Star Wars: The Last Jedi US Rian Johnson Walt Disney 5 711 027
6 Doraemon The Movie: Nobita’s… JP S. Ryoo, K. Imai Toho 4 083 650
7 The Greatest Showman US Michael Gracey 20th Century Fox 3 969 582
8 Coco US L. Unkrich, A. Molina Walt Disney 3 802 281
9 Incredibles 2 US Brad Bird Walt Disney 3 726 236

10 Mission: Impossible – Fallout US/CN/FR/NO C. McQuarrie Towa Pictures 3 589 354
11 Shoplifters JP Hirokazu Koreeda Gaga 3 460 076
12 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 2 844 106
13 Gintama 2: Rules Are Made to Be… JP Yûichi Fukuda Warner Bros. 2 813 688
14 The Boss Baby US Tom McGrath Toho/Towa 2 615 970
15 Destiny: The Tale of Kamakura JP Takashi Yamazak Toho 2 441 065
16 One Cut of the Dead JP Shin’ichirô Ueda Asmic/Enbu 2 372 624
17 Pokémon the Movie: The Power of Us JP Tetsuo Yajima Toho 2 349 810
18 Killing for the Prosecution JP Masato Harada Toho 2 250 951
19 Mirai JP Mamoru Hosoda Toho 2 190 114
20 The 8-Year Engagement JP Takahisa Zeze Shochiku 2 144 487

Sources: EIREN, OBS

India

Market shares 2018

National
89%

Others
11%

Admissions and gross box office in India | 2014-2018 e

1
2
3
4
2014 2015 2016 2017 2018
0
40
80
120

1.94

93.5
101.4

2.07

96.3

1.86

96.3

1.91

102.1

2.02

Sources: FICCI-KPMG, FICCI-EY, IHS, OBS

Number of Indian feature films certified (1) | 2014-2018

In units.
1 000
2 000
1 500
2014 2015 2016 2017 2018

1 966

1 845
1 903

1 986

1 813

Source: Central Board of Film Certification

Admissions
(billion) e

Films produced
(certified)

Gross box office
(INR billion) e

(1) Based on fiscal year ending in March of the stated year.

Population 2018 e 1 334.2 million

GDP per capita 2018 e 1 989.3 USD

Gross box office 2018 e 102.1 bn INR (1.5 bn USD)

Admissions 2018 e 2.02 billion

Average ticket price 2018 e 50.5 INR (0.7 USD)

Average admissions per capita 2018 e 1.5

Screens 2017 | 2018 e 11 209 | 11 280

Digital screens 2017 e | 2018 e (1) 9 530 | 9 601

3D screens 2017 | 2018 e (2) 1 183 | ~
(1) Includes E-Cinema screens (2) 2016

55
India

Top 10 Bollywood films by gross box office in India | 2018
GBO calculated using an average exchange rate of 1 USD = 68.38 INR.

Source: Koimoi.com

Distribution and exhibition

Theatrical revenues increased by 6.0% in 2018,
with GBO crossing INR 102.1 million (USD 1.5 bil-
lion). Similarly, admissions grew to an estimated
2.0 billion, up from 1.9 billion in 2017. The increase
was led both by the upturn of the Hindi-language
segment (Bollywood) and the good box office
performance of Hollywood productions.

Domestic films accounted for 89% of the
box office revenues. In particular, Bollywood
films reached a record high in 2018, generating
approximately 42.1% of total box office takings,
in spite of representing only 13.4% of the films
released. As usual, the Hindi theatrical market was
highly concentrated, with the top 50 films taking
about 98% of the Bollywood box office receipts.
The biographical blockbuster Sanju topped the
Bollywood charts, grossing more than USD 50.0
million, followed by epic period drama Padmaavat
(USD 44.0 million) and action film Simmba (USD
35.2 million). Indian films in other regional lan-
guages (including Tamil, Telegu and Gujarati)
comprised about 81% of the titles on release and
accounted for 46.9% of the box office receipts.
US films, led by Avengers: Infinity War, which became

the highest grossing Hollywood film of all time
in India, took 11% of the GBO while comprising
only 5.6% of the films on release.

There was a marginal growth in the total number
of screens in 2018, with the expansion of multi-
plexes off-setting the rapid decline in the number
of single screens. Screens from multiplexes con-
tributed about 55% of the domestic box office
receipts in 2018, representing only 29% of total
screens. Low screen penetration still represents a
key challenge for the Indian exhibition sector, and
extensive development of the theatrical infrastruc-
ture is especially needed in smaller urban centres.

Production and funding
The number of domestic feature films certified

for release declined by 8.7% in 2018 to 1 813,
marking a five-year low. India and China have
recently been in talks over a revenue-sharing
agreement for film content, as China has become
the largest international market for Indian film
content in terms of box office receipts, with
10 Indian titles released in China generating a
total of USD 272.3 million in 2018.

Sources: CBFC, FICCI, Ernst & Young (EY),
IHS Markit, OBS

(1) Version in Hindi.

Original title
Country
of origin Director

Gross box office
(in USD)

1 Avengers: Infinity War US Anthony Russo, Joe Russo 40 413 123
2 Black Panther US Ryan Coogler 10 783 029
3 Jumanji: Welcome to the Jungle US Jake Kasdan 8 010 811
4 Ant-Man and the Wasp US Peyton Reed 6 402 391
5 Venom US/CN Ruben Fleischer 5 925 020
6 Rampage US Brad Peyton 5 253 320
7 Insidious: The Last Key US/CA Adam Robitel 2 417 897
8 Pacific Rim Uprising US/GB/JP/CN Steven S. DeKnight 2 039 814
9 Skyscraper US Rawson Marshall Thurber 1 998 901

10 The Meg US/CN Jon Turteltaub 1 464 606

Original title
Country
of origin Director
Gross box office
(in USD)

1 Sanju IN Rajkumar Hirani 50 003 516
2 Padmaavat IN Sanjay Leela Bhansali 43 963 000
3 Simmba IN Rohit Shetty 35 202 640
4 2.0 (1) IN S. Shankar 27 550 147
5 Race 3 IN Remo D’Souza 24 765 823
6 Baaghi 2 IN Ahmed Khan 24 179 650
7 Thugs of Hindostan IN Vijay Krishna Acharya 21 291 281
8 Badhaai Ho IN Amit Ravindernath Sharma 20 047 128
9 Stree IN Amar Kaushik 18 934 864

10 Raazi IN Meghna Gulzar 18 049 742

Top 10 US films by gross box office in India | 2018

Source: Comscore

South Korea

Market shares 2018 e

Others
49.1%

National
50.9%

Admissions and gross box office in South Korea | 2014-2018

200
300
100
400
500
2014 2015 2016 2017 2018

232 232

339

494
454

Source: KOFIC

Number of Korean feature films released | 2014-2018
In units.

100
300
200
250
150
2014 2015 2016 2017 2018

1000

1500

500

2000

215.1

1 658.7
1 590.1

217.3

1 743.2

217.0

1 756.6

219.9

1 8

14.0

216.4

Source: KOFIC
Admissions
(million)

Box Office
(KRW billion)

Population 2018 e 51.7 million

GDP per capita 2018 e 30 912.2 USD

Gross box office 2018 1 814.0 bn KRW (1.71 bn USD)

Admissions 2018 216.4 million

Average ticket price 2018 8 383 KRW (7.6 USD)

Average admissions per capita 2018 4.2

Screens 2017 | 2018 2 766 | 2 937

Digital screens 2017 | 2018 2 575 | ~

Digital 3D screens 2017 | 2018 ~ | ~

57
South Korea
Source: KOFIC

Distribution and exhibition
South Korea, which has one of the highest

cinema attendance rates per capita worldwide,
registered a new box office record in 2018 as GBO
grew by 3.3% on the previous year to KRW 1 814.0
billion (USD 1.71 billion). In spite of the growth
in revenues, admissions dropped by 1.6%, slip-
ping from 219.9 million to 216.4 million tickets.

Domestic productions took a market share of
50.9% in 2018, slightly down from 51.8% in 2017.
Only four out of the top 10 titles by admissions
were South Korean films, down from eight in 2017.
The domestic action-fantasy Along with the Gods:
The Last 49 Days was the only film to exceed 10
million admissions in 2018, topping the charts
with 12.3 million tickets sold. The first episode
of the same franchise (Along with the Gods: The
Two Worlds), ranked fifth with 5.9 million admis-
sions, followed by historical action movie The
Great Battle (5.4 million admissions). In turn, five
Hollywood productions earned a place among the
top 10, including the latest release of the super-
hero Avengers saga (ranking second place, with
11.2 million admissions), followed by Bohemian
Rhapsody (9.2 million) and Mission Impossible –
Fallout (6.6 million). Admissions to Korean indepen-
dent and arthouse films (113 releases) slumped in
2018, decreasing by 47.9% to 1.1 million admis-
sions, corresponding to 0.5% of total admissions.

2018 saw a change in leadership in the distri-

bution landscape, with Lotte becoming the top
distributor capturing a market share of 17.1% of
total admissions, ahead of Disney (13.9%) and
CJ Entertainment (13.3%), which had led the
market in past years.

Production and funding
After reaching a record high in 2017, South

Korean production volume dropped to 454 films
released in 2018, 40 less than in the previous
year, bucking a long established upward trend.
The decline affected the overall number of film
releases in the country which fell to 1 646 from
1 765 in 2017.

In recent years, South Korea’s fiscal incen-
tive system, providing a cash rebate of up 25%
on qualified spend, has successfully attracted a
series of high-profile foreign productions to shoot
in the country.

The Korean Film Council (KOFIC) appointed a
new chairman in 2018, after the former director
resigned over a series of political and economic
scandals.

Sources: Korean Film Council (KOFIC), Variety,
Screen International, OBS

English title
Country
of origin Director Distributor Admissions

1 Along with the Gods: The Last 49 Days KR Yong-hwa Kim Lotte Entertain. 12 274 996
2 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 11 212 710
3 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 9 224 587
4 Mission: Impossible – Fallout US/CN/FR/NO C. McQuarrie Paramount 6 584 915
5 Along with the Gods: The Two Worlds KR Yong-hwa Kim Lotte Entertain. 5 872 007
6 Jurassic World: Fallen Kingdom US J.A. Bayona UIP 5 661 128
7 Ant-Man and the Wasp US Peyton Reed Walt Disney 5 448 134
8 The Great Battle KR Kwang-shik Kim Contents Panda 5 440 186
9 Black Panther US Ryan Coogle Walt Disney 5 399 227

10 Intimate Strangers KR J.Q. Lee Lotte Entertain. 5 293 435
11 1987: When the Day Comes KR Joon-hwan Jang CJ Entertainment 5 290 310
12 Believer KR Hae-Young Lee Contents Panda 5 063 684
13 The Spy Gone North KR Jong-bin Yoon CJ Entertainment 4 974 520
14 Venom US/CN Ruben Fleischer Sony Pictures 3 888 096
15 Dark Figure of Crime KR Tae-Gyoon Kim Showbox 3 789 321
16 Deadpool 2 US David Leitch 20th Century Fox 3 784 602
17 Default KR Kook-Hee Choi CJ Entertainment 3 747 954
18 Coco US L. Unkrich, A. Molina Walt Disney 3 510 017
19 Acquaman US James Wan Warner Bros. 3 491 860
20 Keys to the Heart KR Sung-Hyun Choi CJ Entertainment 3 419 339

Top 20 films by admissions in South Korea | 2018

Other Asia

Gross box office in selected Asian countries | 2014-2018 e
In USD million. Local currencies converted at average annual exchange rates.

Number of feature films produced in selected Asian countries | 2014-2018
In units. Sources: IHS, Hong Kong Box Office, Pusbangfilm, Indonesian

Film Board, FINAS, Singapore Film Commission, Taiwan Cinema

100
350
300
150
250
200
2014 2015 2016 2017 2018

161,2 157,2
145,6

170,9
182,4

235,0

140,6

175,9
191,2 204,6

218,0

138,0

233,8

263,4

298,5
314,0

213,2
202,6

220,2
228,9

251,7

212,3

257,9
251,2

237,9 249,7

Sources: OBS, IHS, Hong Kong Box Office Ltd, Pusbangfilm,
Indonesian Film Board, FINAS, Singapore Film Commission, Taiwan Cinema

0
150
120
60
30
90
2014 2015 2016 2017 2018
115
84

60
53

50
26
120
82
59
42
20
52
131

66
73

61
47
38
17
119
64

78
71

137
54
53
13
53
32
11
(1)
(1)

Indonesia

(1) Films released.

Philippines

Taiwan

Malaysia (1)

Hong Kong (1)

Thailand

Singapore

Taiwan
Philippines
Singapore

Hong Kong

Malaysia

Indonesia

Hong Kong Indonesia Malaysia Philippines Singapore Taiwan Thailand
Population 2018 e (million) 7.5 265.3 32.5 108.4 5.7 23.6 69.2
GDP per capita 2018 e (USD) 46 077 4 116 10 490 3 301 55 231 24 889 6 745
Gross box office 2018 e (M USD) 249.7 235.0 (2) 251.7 218.0 (1) 138.0 314.0 (1) 164.2 (3)

Admissions 2018 e (million) 25.2 89.51 (2) 77.3 85.01 (1) 19.6 34.5 (1) 32.80 (2)

Average ticket price 2018 e (USD) 9.9 2.6 3.3 2.6 (1) 7.0 9.1 (1) 4.6 (3)

Average admissions per capita 2018 e 3.4 0.3 (2) 2.4 0.8 (1) 3.4 1.5 (1) 0.5 (2)

Screens 2018 e 230 (2) 1 685 1 094 920 (1) 276 776 (2) 1154 (2)

Digital screens 2018 e 230 (2) 1 685 1 029 (2) 920 (1) 244 (2) 776 (2) 1154 (2)

3D screens 2018 e 204 (2) 825 (2) 310 (2) 164 (2) 92 (2) 468 (2) 412 (2)

National market shares 2018 e 13.0% 38.1% (2) 16.4% ~ 1.7% 17.5% (4) ~
(1) 2017 (2) 2016 (3) 2015 (4) 2014

59
Other Asia
Distribution and exhibition

Data on 2018 cinema attendance have not yet
become available for several Asian markets, which
does not allow the analysis of aggregate figures.
Looking at individual countries, 2018 saw GBO
increase in Hong Kong (up 5.8% to HKD 2.0 bil-
lion, USD 250 million) and Malaysia (up 5.7% to
MYR 1.04 billion, USD 252 million). In turn, reve-
nues in Singapore dropped to SGD 186.1 million
(USD 138 million), down 4.1% on 2017, despite
a slight increase in cinema attendance in 2018
(up 1.0% to 19.6 million admissions).

In both Hong Kong and Singapore, Hollywood
franchise titles dominated the box office charts,
topped respectively by Jurassic World: Fallen
Kingdom and Avengers: Infinity War. In Hong
Kong, the share captured by domestic produc-
tions dropped a fraction in 2018 to 13%, with
comedy Agent Chan the only local title among the
10 top-grossing films for the year. In Singapore,
the national market share dropped from 4.3%
to 1.7%, with no national title in the top ten
list. By contrast, three local films, headed by the
horror movie Munafik 2, topped the box office
charts in Malayisia, accounting for 61% of the
receipts generated by national titles and taking

the domestic share from 5.9% to 16.4%.

Indonesia further extended its theatrical infra-
structure by unveiling 273 new screens in 2018,
up 19.3% on 2017 to total of 1 685.

Production and funding

In 2018, production volume increased in
Indonesia (+18 films), Singapore (+2 films) and
Taiwan (+7), while it declined in Malaysia (-5)
and remained stable in Hong Kong.

Several markets introduced measures aimed at
attracting foreign investments: Thailand inked a
deal with China to set up a co-production fund for
content catering to Asian audiences while Taiwan
launched an international co-production film
investment scheme. In 2019, the Chinese main-
land reduced restrictions on co-productions with
Hong Kong, removing requirements on content
as well as limits in the number of Hong Kong cast
and crew. Honk Kong also announced an injec-
tion of HKD 1 billion (USD 128 million) into its
Film Development Fund.

Sources: IHS Markit, Hong Kong Box Office Ltd,
FINAS, Singapore Film Commission/IMDA, Indonesian

Film Board, Variety, Comscore, OBS

Source: Comscore
Source: Comscore

Top 10 films by admissions in Hong Kong | 2018

Top 10 films by gross box office in Singapore | 2018

Original title
Country
of origin Director

Distributor Admissions

1 Jurassic World: Fallen Kingdom US Juan Antonio Bayona Universal 1 075 443
2 Incredibles 2 US Brad Bird Walt Disney 1 014 723
3 Avengers: Infinity War US Joe & Anthony Russo Walt Disney 932 664
4 Along With The Gods: The Two Worlds KR Kim Yong-hwa Edko 742 298
5 Deadpool 2 US David Leitch 20th Century Fox 707 402
6 Mission: Impossible – Fallout US/CN/FR/NO C. McQuarrie Paramount 687 112
7 Ant-Man And The Wasp US Peyton Reed Walt Disney 670 087
8 Agent Mr. Chan HK Jeff Cheung China 3D 598 989
9 Black Panther US Ryan Coogler Walt Disney 595 911

10 Ready Player One US Steven Spielberg Warner Bros. 554 187

Original title
Country
of origin Director

Distributor Admissions

1 Avengers: Infinity War US Joe & Anthony Russo Walt Disney 1 398 959
2 Jurassic World: Fallen Kingdom US J.A. Bayona Universal 899 742
3 Black Panther US Ryan Coogler Walt Disney 876 988
4 Aquaman US James Wan Warner Bros. 773 244
5 Crazy Rich Asians US Jon M. Chu Warner Bros. 664 656
6 Mission: Impossible – Fallout US/CN/FR/NO C. McQuarrie Paramount 643 645
7 Incredibles 2 US Brad Bird Walt Disney 633 045
8 Venom US/CN Ruben Fleischer Sony Pictures 560 659
9 Ant-Man And The Wasp US Peyton Reed Walt Disney 517 378

10 Deadpool 2 US David Leitch 20th Century Fox 473 623

Africa

Gross box office in selected African countries | 2014-2018
In USD million.

Sources: CCM, NFVF, Empire Cinemas, IHS

Number of feature films produced
in selected African countries | 2014-2018
In units.

10
40
30
20
2014 2015 2016 2017 2018
23
35
20
22
28
34
22
30
28
26

24
23

Sources: CCM, NFVF, IHS

(1) Films released.

(1) Includes box office from open-air screenings.

South Africa (1)

Morocco

0
100
40
20
60
80
2014 2015 2016 2017 2018

81.2

16.8

7.4

94.4

25.6

7.5

77.5

25.9

6.1
89.8

20.7

7.9
98.9
7.6

25.7

(1)

South Africa e

Morocco e

Egypt e

Egypt

Egypt Morocco

South Africa

Population 2018 e (million) 94.4 35.2 57.4
GDP per capita 2018 e (USD) 3 685 (1) 3 368 6 292
Gross box office 2018 e (in M USD) 25.7 7.6 99.0
Admissions 2018 e (million) 6.7 1.6 19.6
Admissions per capita 2018 e 0.1 0.04 1.7
Average ticket price 2018 e (in USD) 3.9 4.9 5.0
Screens 2018 e 416 (2) 65 765
Digital screens 2018 e 166 (2) 60 765
National market shares 2018 e ~ 32.5% (3) 3.9% (3)

(1) 2016 (2) 2015 (3) By GBO

61
Africa
South Africa

South African GBO climbed by 9.2% in 2018
registering a new record high at ZAR 1.3 billion
(USD 99 million). The hike in revenues resulted
from the exceptional box office performance of
superhero megahit Black Panther which topped
the South African chart in 2018. In line with the
previous year, domestic productions captured
3.9% of box office receipts; the comedy Frank &
Fearless was the highest grossing local title for
the year. Overall, 22 South African films were
released (one less than in 2017).

Morocco and Egypt

Moroccan cinema attendance dropped to 1.6
million admissions in 2018, down 6.7% on the
previous year. The share of domestic films rose
from 28.5% to 32.5% in 2018, boosted by the
success of the comedy Lahnech which topped
the charts for two years in a row. After booming
in 2017, production volume declined 2018, with
30 films shot, compared to 39 for the previous
year. With a total of 65 screens, the country’s the-
atrical infrastructure remains under-equipped in
spite of a marginal increase in 2018.

Egypt’s admissions went up 10.5% to 6.7 mil-
lion in 2018 as GBO reached EGP 459.3 million
(USD 26 million).

Nigeria
Nigerian box office revenues were on the rise

in 2018, setting a new record high at an estimated
USD 13.9 million, up 25% on the previous year. In
turn, the market share for domestic productions
declined from almost 40% to an estimated 20%.

Nigeria’s film industry, known as ‘Nollywood’,
reportedly produces around 2 000 films a year,
which would make it second to Bollywood only
in terms of production volume. However, given
the insufficient number of screens (less than 150
servicing a population of 19.3 million in 2018),
only a small part of local productions receive a
theatrical release. Recently, new hopes have been
placed in theatrical expansion as 12 new cinemas
were opened in 2018, bringing the national total
to circa 40 cinemas. 2018 also saw the creation
of the Cinema Exhibitors’ Association of Nigeria,
a body aimed at improving the availability and
the transparency of box office data.

Sources: CCM, NFVF, Variety, IHS Markit, PwC,
Ster-Kinekor, OBS

Top 10 films by gross box office in South Africa | 2018

Top 10 films by admissions in Morocco | 2018

Original title
Country
of origin

Gross Box Office
Director (in USD)

1 Black Panther US Ryan Coogler 8 160 967
2 Avengers: Infinity War US Anthony Russo, Joe Russo 5 554 699
3 Aquaman US James Wan 4 141 520
4 Incredibles 2 US Brad Bird 4 010 956
5 Bohemian Rhapsody GB INC/US Bryan Singer 3 128 736
6 Mamma Mia! Here We Go Again US/GB/JP Ol Parker 2 580 596
7 Fifty Shades Freed US James Foley 2 528 899
8 Jurassic World: Fallen Kingdom US J. A. Bayona 2 457 026
9 Deadpool 2 US David Leitch 2 417 941

10 Tyler Perry’s Acrimony US Tyler Perry 2 108 570

Original title
Country
of origin

Director Admissions

1 Lahnech MA Driss Mrini 203 977
2 Korsa MA Abdellah Ferkous 77 369
3 Razzia MA/FR/BE Nabil Ayouch 50 893
4 Mission: Impossible – Fallout US/CN/FR/NO Christopher McQuarrie 41 600
5 Deadpool 2 US David Leitch 32 165
6 Taxi 5 FR Franck Gastambide 31 449
7 Avengers: Infinity War US Joe Russo, Anthony Russo 30 155
8 Lhajjates MA Mohamed Achaour 29 171
9 Flatliners US/CA Niels Arden Oplev 29 016

10 Equalizer 2 US Antoine Fuqua 28 042

Source: NFVF

Source: Centre Cinématographique Marocain (CCM)

Middle East

Number of films produced in selected Middle East countries | 2014-2018 e

In units.
0
200
150
100
50
2014 2015 2016 2017 2018
124
28

15 15 18

2
110
32
2
132
30
6

169

28
9
116
26

Sources: Iranian Independents, Farabi Cinema Foundation, Israel Film Fund, IHS

Admissions in selected Middle Eastern countries | 2014-2018 e

In millions.
0
30
20
10
2014 2015 2016 2017 2018
12.0

3.7

14.1
13.4

13.0
3.8
16.7

25.3

16.5

14.0
3.5

22.9

20.2 20.5

16.0
4.0

28.1

14.0
3.5

Sources: Israeli Film Fund, Empire Cinemas,
Iranian Independents, Farabi Cinema Foundation, IHS

(1) According to the Farabi Cinema Foundation 97 films were produced in Iran in 2014, 84 films in 2015.

Iran (1)

Lebanon e

Iran

Israel e

United Arab
Emirates e

Israel

Lebanon
United Arab
Emirated

Iran Israel Kuwait Lebanon Qatar
Saudi

Arabia
United Arab

Emirates
Population 2018 e (million) 82.4 8.9 4.5 4.6 2.8 33.0 10.4
GDP per capita 2018 e (USD) 4 837.7 40 762.4 28 199.2 12 081.5 65 158.6 21 453.1 38 436.1
Gross box office 2018 e (in M USD) 60.9 156.0 56.7 32.6 39.5 7.9 250.3
Admissions 2018 e (million) 28.1 14.0 4.8 3.5 3.0 0.5 20.5
Admissions per capita 2018 e 0.3 1.6 1.1 0.8 1.1 0.0 2.0
Average ticket price 2018 e (USD) 2.2 11.1 11.74 9.43 13.34 16.23 12.24
Screens 2018 e 504 430 73 (1) 125 (2) 51 (2) ~ 460 (3)

Digital screens 2018 e 504 430 ~ ~ ~ ~ 460 (3)

National market shares 2018 e 92.0% 12.0% ~ 23.7% ~ ~ ~

(1) 2014 (2) 2015 (3) 2016

63
Middle East

Top 10 films by admissions in the United Arab Emirates | 2018

Original title
Country
of origin Director

Distributor Admissions

1 Mission: Impossible – Fallout US/CN/FR/NO Christopher McQuarrie Paramount 37 094
2 The Meg US/CN Jon Turteltaub Warner Bros. 35 930
3 Avengers: Infinity War US Anthony Russo, Joe Russo Walt Disney 28 269
4 Venom US/CN Ruben Fleischer Columbia 27 483
5 Jurassic World: Fallen Kingdom US J. A. Bayona Universal Pictures 26 041
6 Incredibles 2 US Brad Bird Walt Disney 24 815
7 Ant-Man And The Wasp US Peyton Reed Walt Disney 21 470
8 Ocean’s Eight US Gary Ross Warner Bros. 19 904
9 Aquaman US James Wan Warner Bros. 19 677

10 Skyscraper US Rawson Marshall Thurber Universal Pictures 19 421

Original title
Country
of origin Director

Distributor Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo Walt Disney 733 281
2 Mission: Impossible – Fallout US/CN/FR/NO Christopher McQuarrie Paramount 571 096
3 Jurassic World: Fallen Kingdom US J. A. Bayona Universal Pictures 542 088
4 Black Panther US Ryan Coogler Walt Disney 494 716
5 Aquaman US James Wan Warner Bros. 423 926
6 The Meg US/CN Jon Turteltaub Warner Bros. 420 093
7 Rampage US Brad Peyton Warner Bros. 387 363
8 Incredibles 2 US Brad Bird Walt Disney 378 238
9 Venom US/CN Ruben Fleischer Columbia 368 738

10 Padmaavat IN Sanjay Leela Bhansali Paramount 357 503

Source: Empire Cinemas

Top 10 films by admissions in Saudi Arabia | 2018

Source: Empire Cinemas

United Arab Emirates

In 2018 UAE cinema attendance hit a new
record high at 20.5 million admissions. GBO fol-
lowed suit rising by +2.4% on 2017 to UAD 919.2
million (USD 250 million). While domestic produc-
tion volumes grew slowly (from 2 films produced
in 2014 to 9 in 2017) film incentives made UAE
an attractive shooting location for foreign pro-
ductions. From 2019 onwards the DIFF (Dubai
International Film Festival), the leading film fes-
tival in the region, will adopt a new format, taking
place once every two years instead of annually.

Israel

Israeli GBO dropped from ILS 640 to 560 million
(USD 156 million) in 2018, with admissions falling
by 12.5% to 14 million tickets. In turn, the share
captured by domestic productions increased to
12% while the number of national film produced
slightly decreased from 28 to 26. In 2018 pro-
posed legislation reinforcing governmental con-
trol over film funding sparked much controversy,
as it would allow withholding subsidies from film
projects considered critical to the Israeli State.

Iran

Iranian cinema attendance rose by 22.7%
in 2018 to 28.1 million admissions, with GBO
growing by 35.4% to IRR 2.5 trillion (USD 61 mil-
lion). Once again, domestic titles dominated the
box office, taking 92% of revenues. Local comedy
Millipede was the highest-grossing title for 2018,
taking a record-breaking IRR 350 billion (USD
8.7 million). According to Iranian Independents
the number of domestic films produced fell from
169 to 116 in 2018, but only 61 of these films
received a theatrical release in the same year.

Saudi Arabia

After lifting its ban on cinemas, Saudi Arabia
re-opened its first theatre in 35 years in April
2018. Half a million tickets were sold during the
year generating a GBO of SAR 29.5 million (USD
7.9 million). Mission: Impossible – Fallout led the
box office charts, taking 37 094 admissions. In
the Gulf’s most populated market, the comeback
of cinema is expected to drive rapid expansion,
as the government announced investments of
USD 35 billion in multiplexes by 2020 to reach
the goal of 2 500 screens over the next five years.

Sources: IHS Markit, Empire Cinemas, Iranian Independents, Israel film Fund,
Variety, Screen International, The Guardian, OBS

Sources
FOCUS 2019 was prepared by the European Audiovisual Observatory. We would like to thank the following sources:

National Cinema Center of
Armenia

AM www.ncca.am

INCAA AR www.incaa.gov.ar
Österreichisches Filminstitut
(ÖFI)

AT www.filminstitut.at

MPDAA AU www.mpdaa.org.au
Screen Australia AU www.screenaustralia.gov.au
Sarajevo Film Festival (SFF) BA www.sff.ba
Centre du cinéma et de
l’audiovisuel (CFWB)

BE www.audiovisuel.cfwb.be

Vlaams Audiovisueel Fonds
(VAF)

BE www.vaf.be/

Cinedata BE
National Film Center (NFC) BG www.nfc.bg
ANCINE BR www.ancine.gov.br
Canadian Media Prod. Assoc.
(CMPA)

CA www.cmpa.ca

Telefilm Canada CA www.telefilm.ca
Office fédéral de la statistique
(OFS)

CH www.admin.ch/bfs

Ministerio de Cultura CL https://www.cultura.gob.cl
China Media Management
Inc.

CN www.cmmintelligence.com

China Film Bureau CN
Ministerio de Cultura CO http://www.mincultura.gov.co
Centro Costarricense de
Producción Cinematográfica
(CCPC)

CR https://www.centrodecine.
go.cr

Cyprus Ministry of Education
and Culture

CY http://www.moec.gov.cy

Ministry of Culture CZ www.mkcr.cz
Czech State Cinematography
Fund

CZ www.fondkinematografie.cz

Unie Filmovych Distributoru
(UFD)

CZ www.ufd.cz

Blickpunkt Film DE www.mediabiz.de/film/
FFA DE www.ffa.de
SPIO DE www.spio.de
Danish Film Institute (DFI) DK www.dfi.dk
Statistics Denmark DK www.dst.dk
Instituto de Cine y Creación
Audiovisualiovisual (ICCA)

EC http://www.cineyaudiovisual.
gob.ec

Estonian Film Institute EE www.filmi.ee
Cineinforme ES www.cineytele.com/
ICAA ES www.mcu.es/cine/index.html
Spain Film Commission ES http://www.shootinginspain.

info
Eurostat EU ec.europa.eu/eurostat
Europa Cinemas EU www.europa-cinemas.org
Cineuropa EU www.cineuropa.org
MEDIA Salles EU www.mediasalles.it
Finnish Film Foundation (FFF) FI www.ses.fi
Centre national du cinéma et
de l’image animée (CNC)

FR www.cnc.fr

Le film français FR www.lefilmfrancais.com
British Film Institute (BFI) GB www.bfi.org.uk
Digital Cinema Media (DCM) GB www.dcm.co.uk
Greek Film Center GR www.gfc.gr
Hong Kong Box Office Ltd HK http://www.hkbo.com.hk
Croatian Audiovisual Centre
(HAVCR)

HR www.havc.hr

National Film Office (NFO) HU www.nemzetifilmiroda.hu
Pusbangfilm ID https://pusbangfilm.

kemdikbud.go.id
Indonesian Film Board (Badan
Perfilman Indonesia/BPI)

ID https://www.bpi.or.id

Screen Ireland IE https://www.screenireland.ie
Israel Film Fund IL www.filmfund.org.il/
Koimoi.com IN www.koimoi.com/
KPMG India IN www.kpmg.com/in
Federation of Indian Chambers
of Commerce and Industry
(FICCI)

IN http://ficci.in

The Central Board of Film
Certification (CBFC)

IN https://cbfcindia.gov.in

Farabi Cinema Foundation IR www.fcf.ir
Iranian Independents IR
Icelandic Film Centre IS www.icelandicfilmcentre.is

Hagstofa Islands (HI) IS www.statice.is
ANICA IT www.anica.it
Cinetel IT www.cinetel.it
DGC-MiBACT IT www.cinema.beniculturali.it/
Giornale dello Spettacolo IT www.giornaledellospettacolo.it/
Motion Picture Association of
Japan (EIREN)

JP www.eiren.org

The Association of Japanese
Animation (AJA)

JP https://aja.gr.jp

Korean Film Council (KOFIC) KR www.koreanfilm.or.kr
Empire Cinemas LB www.empire.com.lb
Lithuanian Film Center LT www.lkc.lt
Centre national de
l’audiovisuel (CNA)

LU www.cna.public.lu

National Film Centre of Latvia
(NFC)

LV www.nfc.lv

Centre Cinématographique
Marocain (CCM)

MA www.ccm.ma/

Ministry of Culture ME www.mku.gov.me
Macedonian Film Agency MK www.filmfund.gov.mk
Malta Film Commission MT www.maltafilmcommission.com
IMCINE MX www.imcine.gob.mx
National Film Development
Corp. of Malaysia (FINAS)

MY www.finas.gov.my

MaccsBox NL www.maccsbox.nl
Nederlands Filmfonds (NFF) NL www.filmfund.nl
Nederlandse Vereniging van
Filmdistributeurs (NVF)

NL www.filmdistributeurs.nl

Film og Kino NO www.filmweb.no/filmogkino
Norsk Filminstitutt (NFI) NO www.nfi.no
New Zealand Film
Commission

NZ www.nzfilm.co.nz

MPDA NZ www.mpda.org.nz
Stats NZ NZ https://www.stats.govt.nz
Ministerio de Cultura PE https://cultura.gob.pe/
National Statistical
Coordination Board (NSCB)

PH www.nscb.gov.ph

Boxoffice.pl PL www.boxoffice.pl
Film New Europe PL www.filmneweurope.com/
Polish Film Institute (PISF) PL www.pisf.pl
Instituto do Cinema e do
Audiovisual (ICA)

PT www.ica-ip.pt

Centrul National al
Cinematografiei (CNC)

RO www.cncinema.abt.ro/

Nevafilm Research RU www.nevafilm.ru
Russian Film Business Today RU www.kinobusiness.com
Swedish Film Institute (SFI) SE www.sfi.se
Singapore Film Commission
/ IMDA

SG https://www.imda.gov.sg

Slovenski Filmski Center (SFC) SI www.film-center.si
Slovak Film Institute (SKFI) SK www.sfu.sk
Antrakt TR www.antraktsinema.com
SE-YAP TR www.se-yap.org.tr
DG Sinema TR www.sinema.gov.tr/
Taiwan Cinema TW www.taiwancinema.com
International Movie Database
(IMDb)

US www.imdb.com

MPAA US www.mpaa.org
Dirección del Cine y
Audiovisual Nacional (ICAU)

UY https://icau.mec.gub.uy

Centro Nacional Autónomo de
Cinematografía (CNAC)

VE http://www.cnac.gob.ve

National Film and Video Fund
(NFVF)

ZA www.nfvf.co.za

Ster-Kinekor ZA https://www.sterkinekor.com
PwC South Africa ZA https://www.pwc.co.za
IHS Technology technology.ihs.com
Screen International www.screendaily.com
ComScore http://www.comscore.com
The Hollywood Reporter www.hollywoodreporter.com
Variety www.variety.com
Observatório Iberoamericano
Audiovisual (OIA)

www.oia-caci.org

LUMIERE Database www.lumiere.obs.coe.int
International Monetary Fund www.imf.org
UNESCO www.unesco.org

…turning

30
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MAD_145-11_EURIMAGES_CANNES_AFF_155x240mm_040419_MR.indd 1 04/04/2019 17:36

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Simp-niv-8-19042413340
Simp-niv-8-19042413341
Simp-niv-8-19042413342
Simp-niv-8-19042413350
Simp-niv-8-19042413351
Simp-niv-8-19042413352
Simp-niv-8-19042413353
Simp-niv-8-19042413354
Simp-niv-8-19042413355
Simp-niv-8-19042413360
Simp-niv-8-19042413361
Simp-niv-8-19042413362
Simp-niv-8-19042413363

Classeur1

Simp-niv-8-19041509130
Simp-niv-8-19041509140
Simp-niv-8-19041509150
Simp-niv-8-19041509151
Simp-niv-8-19041509152
Simp-niv-8-19041509160
Simp-niv-8-19041509161
Simp-niv-8-19041509162
Simp-niv-8-19041509170
Simp-niv-8-19041509171
Simp-niv-8-19041509172
Simp-niv-8-19041509180
Simp-niv-8-19041509181
Simp-niv-8-19041509182
Simp-niv-8-19041509190
Simp-niv-8-19041509191
Simp-niv-8-19041509192
Simp-niv-8-19041509193
Simp-niv-8-19041509200
Simp-niv-8-19041509201
Simp-niv-8-19041509210
Simp-niv-8-19041509211
Simp-niv-8-19041509212
Simp-niv-8-19041509220
Simp-niv-8-19041509221
Simp-niv-8-19041509222
Simp-niv-8-19041509230
Simp-niv-8-19041509231
Simp-niv-8-19041509232
Simp-niv-8-19041509240
Simp-niv-8-19041509241
Simp-niv-8-19041509242
Simp-niv-8-19041509250

Classeur2

Simp-niv-8-19041510010
Simp-niv-8-19041510020
Simp-niv-8-19041510021
Simp-niv-8-19041510022
Simp-niv-8-19041510023
Simp-niv-8-19041510024
Simp-niv-8-19041510025
Simp-niv-8-19041510030
Simp-niv-8-19041510031
Simp-niv-8-19041510032
Simp-niv-8-19041510033
Simp-niv-8-19041510040
Simp-niv-8-19041510041
Simp-niv-8-19041510050
Simp-niv-8-19041510051
Simp-niv-8-19041510052
Simp-niv-8-19041510053
Simp-niv-8-19041510054
Simp-niv-8-19041510060
Simp-niv-8-19041510061
Simp-niv-8-19041510062
Simp-niv-8-19041510063
Simp-niv-8-19041510070
Simp-niv-8-19041510071
Simp-niv-8-19041510072
Simp-niv-8-19041510073
Simp-niv-8-19041510074
Simp-niv-8-19041510080
Simp-niv-8-19041510081

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