Cinemas brimming with French films (1)
The report by Jean-Pierre Leclerc on the "current conditions of theatrical film releases", a study commissioned by Véronique Cayla, director general of the Centre National de la Cinématographie (CNC), was published yesterday.
The survey reveals key findings. Between 1996 and 2005, film releases rose from 387 to 530, with an average ten new releases per week. This figure was higher than in other European countries (368 in Germany in 2004, 530 in Spain, 392 in Italy, 451 in the UK) and is not the result of US films – whose volume has remained unchanged – but rather French titles (160 releases in 1996, compared to 228 in 2005) and European films (up from 57 to 96).
The record production of 240 French features in 2005 further aggravates the situation, as the market cannot absorb them or offer them satisfactory exhibition conditions.
The increase in the number of releases can be explained in part by the creation of distribution arms by TV broadcasters (Mars Distribution for Canal +, TFM Distribution for TF1, SND for M6), which release approximately 50 films each year.
However, other reasons, such as technical releases, the growing importance of multiplexes and output deals signed between Canal + and TPS and US production companies also come into play.
Another important point revealed by the report is the doubling in the number of prints in the past 10 years (from 37,000 in 1996 to over 75,000 in 2005). Several factors explain this trend, namely better located cinemas in small and medium sized towns, the public’s demand for new films, the over-exhibition of some films (US in particular) and even the influence of TV distribution arms, who release 10% of films on 23% of prints. This trend – which reduces the rate of profit per print – leads to the shortening of theatrical runs, a crucial factor for the most vulnerable films.
The calendar also plays a role, with the summer considered a bad period for the release of French films and release “bottlenecks” occurring during school holidays (with the exception of summer holidays). Added to this are the saturation strategies on screens: today a film makes 56% of its box office revenue in two weeks on screens and 79% in four weeks.
The gap between the most and least powerful distributors is also widening. In 2004, GBVI released 391 prints per film , over Warner (389), EuropaCorp(350), UIP (309), Pathé (291), UFD (285), Columbia (269), SND (247), Mars (240), Pan Européenne (237) and TFM (235).
Compare these figures to those of Bac Films (91), Rezo Films (89), ARP Sélection (83), Diaphana (73), Gémini (63), Pyramide (58), Haut et Court (47), Les Films du Losange (43), Océan (43) and MK2 (25).
The result? Exhibitors think it is impossible to guarantee both access to films in theatres and a satisfactory theatrical run. Arthouse theatres are often required, for profit reasons, to choose strong-performing films over the generally less successful arthouse titles.
The situation is even more stressful for distributors, who are under pressure from the marked increase in advertising investment necessary to release films (+107% since 2000). The survival potential of films is reliant on two exhibition circuits that have almost complete control over release conditions: UGC (41% admissions in Paris) and EuroPalaces (24%).
(Translated from French)
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