In the Shadow of May 1968, French Film Industry Stands at Crossroads With Box Office in Crisis

Universal/Working Title’s Ticket to Paradise has winged past the $100M mark globally. With Tuesday’s grosses included, the Julia Roberts/George Clooney romcom’s split is $20.6M domestic and $81.9M from the international box office for a worldwide total of $102.5M so far.

Searchlight Pictures’ The Banshees Of Inisherin opened to an estimated $181,000 and a raring per screen average of $45,250, beating Tár’s impressive $40,000. Both opened in four locations and now rank no. 2 and no. 3 for an indie per-theater gross this year after A24’s Everything Everywhere All At Once. That film’s in a class of its own with an April opening PTA of over $50k on many more screens and a $100 million+ worldwide grosses. But Banshees is the latest in a wave of strong limited openings this month from Decision To Leave to Triangle of Sadness to Aftersun to Till making the case for an arthouse revival. Case made.

Broadway box office held steady at $28,621,480 last week as a slate of new productions began or continued previews (Almost Famous and Kimberly Akimbo filled more than 90% of their seats), MJ and Leopoldstadt set house records and The Phantom of the Opera was once again standing room only as the long-running Andrew Lloyd Webber musical heads toward its Feb. 18 closing.

Elsa Keslassy International Correspondent Disney has confirmed that it will release “Black Panther: Wakanda Forever” in theaters in France on Nov. 9 in spite of the country’s strict windowing regulations. The company previously decided to forgo the theatrical roll out of “Strange World” in France on Nov. 23 in favor of a launch on Disney+. The bold move was seen as an attempt to put pressure on upcoming negotiations to amend the windowing rules which are expected to kick off in January. Under the current guidelines, which were established by the French government just nine months ago, Disney’s pay-VOD window is set at four months, and subscription-based streaming window at 17 months after films debut in theaters. The only way to bypass those French rules entirely is to forgo a release in cinemas.

Elsa Keslassy International Correspondent Paris-based sales and co-production banner Have A Good One (HAGO), has boarded two new series, “Sex (re) Education” (“Septième Ciel”) and “Caro Nostra,” in the run up to Mipcom, the Cannes TV market. “Sex (re) Education” is a 10-part half-hour comedy series directed by Alice Vial, who won the Cesar Award in 2018 with her short “The Winkles.” The series, penned by Clémence Azincourt, Clement Marchand and Vial, follows Jacques, an pensioner who has been placed by his daughter in a retirement home. When he thinks his life is over, he meets Rose and embarks on a passionate and lustful affair, wrecking havoc in the residence. The cast includes Irene Jacob, the well-known actor of Krzysztof Kieslowski’s “Rouge.” Ordered by French pay TV group OCS, the show recently won best series at La Rochelle Fiction Festival and is produced by Next Episode, Henri Debeurme’s UGC-backed company.

Patrick Frater Asia Bureau Chief While the Busan International Film Festival was busily hailing a return to normality the slump at South Korea’s commercial box office deepened dramatically over the most recent weekend. Cinemagoing nationwide was worth only $4.20 million between Friday and Sunday, the lowest weekend total since April and a time before Korean cinemas shed their COVID restrictions. The weekend’s top film “Life Is Beautiful” managed the lowest first place score of any film this year, with a weekend haul of just $777,000, according to data from Kobiz, the tracking service operated by the Korean Film Council (KOFIC).

Chinonye Chukwu’s Till got off to a solid start at the specialized box office, grossing over $15k per theater from 16 locations in five markets for an estimated weekend gross of $240.9k, possibly more depending on how Sunday plays out.

Elsa Keslassy International Correspondent Banijay Rights has pre-sold “Marie-Antoinette,” the eight-part period series, to PPS Distribution in the U.S. The series will have its North American premiere in the Spring. The deal marks the latest international deal for the show which is produced by Banijay Studios France, CAPA Drama and Les Gens. The series was commissioned by Canal +’s Creation Originale label and follows recent pre-sales to the U.K. public broadcaster BBC2 and BBC First in Australia. Created and written by Deborah Davis (“The Favourite”), “Marie Antoinette” tells the story of the avant-garde young queen, played by Emilia Schüle.

Elsa Keslassy International Correspondent Pathé and Chapter 2, a Mediawan company, are set to reteam with “Three Musketeers” director Martin Bourboulon on a riveting thriller set in the backdrop of the fall of Kabul and the takeover by the Taliban. The film is an adaptation of “13 days, 13 Nights, in the Hell of Kabul,” a sprawling real-life account of the events written by commander Mohamed Bida and published by Denoël last month. Bourboulon, who recently completed shooting “The Three Musketeers,” a big-budget two-part saga based on Alexandre Dumas’ masterpiece, will be filming the movie in French and English with an immersive and ultra-realistic style.

Elsa Keslassy International Correspondent Cinemed, the Mediterranean Cinema Film Festival, is partnering up with Lebanese film org Aflamuna / Beirut DC to launch a new co-production and co-financing initiative aimed at high-profile projects from the Arab world. The new program, which is also backed by France’s National Film Board and is part of the festival’s industry showcase Cinemed Meetings, will present seven projects involving 22 Arab countries, including Algeria, Egypt, Jordan, Liban, Palestine, Qatar, Saudi Arabia, United Arab Emirates and Syria, among others. All selected projects are currently in development and are being brought by filmmakers who have previously directed at least one short film.

Naman Ramachandran After 22 weeks in cinemas across Ireland and the U.K., writer-director Colm Bairéad’s “An Cailín Ciúin” (“The Quiet Girl”) has crossed €1 million ($971,000) at the box office. The film is Ireland’s entry in the Oscars’ international feature category. Based on Irish author Claire Keegan’s story “Foster,” the coming-of-age film, set in rural Ireland in 1981, follows Cáit (Catherine Clinch) as she is sent from her overcrowded, dysfunctional household to live with distant relatives for the summer. It has been an unstoppable force on the festival and awards circuit, winning top prizes at the Berlin, Dublin and Taipei film festivals and sweeping the Irish Film and Television Awards. Produced by Cleona Ní Chrualaoi for Inscéal, the film is distributed by Break Out Pictures and Curzon.

Patrick Frater Asia Bureau Chief Comedy action film “Confidential Assignment 2: International” claimed its fifth successive weekend victory at the South Korean box office as only U.S. horror film “Smile” was able to break into the top five.The CJ Entertainment-distributed “Confidential Assignment 2” managed $1.64 million over the Friday to Sunday period, according to data from Kobis, the tracking service operated by the Korean Film Council (KOFIC). That represented a 27% share of the market. “Confidential Assignment 2” recorded a 27% weekend on weekend decline. That pushed its cumulative total to $47 million, earned form $6.52 million ticket sales since release on Set. 7, 2022.

a factor? Yes, in certain parts of the country, I think it was a factor,” he said.In its opening weekend, “Bros” made just $4.8 million, despite a 3,500 screen wide release; most of that money came from New York, Los Angeles and San Francisco. On Sunday Oct.

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Elsa Keslassy International Correspondent Award-winning filmmakers Alice Diop (“Saint Omer”), Audrey Diwan (“Happening”), Julia Ducournau (“Titane”), Michel Hazanavicius (“The Artist”), Jacques Audiard (“Dheepan”), and actors Juliette Binoche, Marion Cotillard, Isabelle Huppert, Lea Seydoux are among nearly 1,000 prominent French film figures who have signed an open letter to support Iranian women and civil rights activists in their revolt over the death of 22 year-old Mahsa Amini, as well as denounce the “murderous violence” of the Iranian regime. Amini, a Kurdish woman, died in custody on Sept. 16, three days after being arrested in Tehran because she allegedly breached the Islamic republic’s strict dress code for women. Her death has sparked protests across Iran, including in Tehran, Isfahan and Yazd, and in cities around the world, including in Paris, Istanbul and Los Angeles. Amnesty International said Iranian authorities have been “intentionally using lethal force against the protesters,” causing more than more 52 deaths (as of Sept. 30). The organization has urged international action “beyond statements of condemnation” to prevent more people from being killed.

Patrick Frater Asia Bureau Chief Comedy action film “Confidential Assignment 2: International” remained at the top of the South Korean box office for the fourth consecutive weekend. Its enduring success came despite a slew of new releases intended to catch the National Foundation Day holiday weekend traffic. Between Friday and Sunday “Confidential Assignment 2” garnered $2.19 million from 304,000 ticket sales, and a market share of 29%. The weekend earnings lift it to a $43.3 million cumulative since release on Sept. 7, 2022. It is only the fourth film this year to have passed the six million spectators mark and the third Korean film to do so, following “The Roundup” (12.7 million) and “Hansan: Rising Dragon” (7.26 million).

“Bros,” the Billy Eichner-fronted film tumbled at the box office on opening weekend. And Eichner – who also co-wrote the film with director Nicholas Stoller – puts the blame on straight people not showing up.“Rolling Stone already has ‘Bros’ on the list of the best comedies of the 21st century.

It was a varied offering at the international box office this weekend with newcomers from Hollywood and offshore markets, as well as notable holds, as we inch closer to full-on action later in October. 

“Smile,” which was projected for an opening in the high teens against its $17 million production budget, actually saw a slight 4% increase in grosses from Friday to Saturday, beating industry estimates which had predicted a slight decrease after the film earned audience scores of B- on CinemaScore and a 69% positive rating on Comscore/Screen Engine’s PostTrak. While those scores could signal a more frontloaded box office run, the word-of-mouth among hardcore horror fans still seems to be running pretty strong and giving “Smile” a chance to match the $23.6 million opening of Universal/Blumhouse’s “The Black Phone” from earlier this year if Sunday numbers also beat projections.

SATURDAY AM:Paramount and other studios are calling Smile at a $19M opening. In a deja vu to last weekend with New Line’s Don’t Worry Darling, another genre pic, this R-rated horror film has received a B- CinemaScore and a severe 69%/53% definite recommend on Comscore/Screen Engine’s PostTrak; a standard audience reaction for such fare. We see one studio calling Smile at $20M, and frankly with this audience score, and the front-loaded nature of horror films, only tonight will determine if this goes up. Last weekend, everyone got excited about the initial numbers they were seeing for Don’t Worry Darling, got over their skis and called the weekend at $20M on Saturday AM before it eased to $19.3M by Monday. Smile‘s Friday is $8.2M, which includes Thursday’s $2M previews.