Five French animated features approved in 2017
by Fabien Lemercier
- Production, financing and distribution: the 2017 annual review of the animation market published by the CNC homes in on the main trends
Just a few days before the start of the Annecy Film Festival (11-16 June 2018), the rendezvous for animation professionals from all over the world, the CNC has published its traditional annual study on the sector. The field of animation boasts some truly excellent French training facilities (with three schools ranked among the global top ten: Gobelins – L’École de l’image in Paris, Supinfocom Rubika in Valenciennes and Mopa in Arles) that feed a sector that is extremely dynamic in terms of job creation (6,200 jobs in total, and 700 more than in 2016) and export clout (a record of €133 million of sales in 2016, making it the number-one French audiovisual genre in this field, and a total of €15.17 million in takings abroad for French film productions in 2017). This paints a rather cheering picture, which is nevertheless tainted somewhat by this week’s announcement that France 4’s (the second most important TV broadcaster in terms of animated audiovisual programmes, airing 3,800 hours in 2017) move towards digital, as part of the forthcoming public television reform, has been turned completely on its head.
Specifically in terms of cinema, five animated features were approved as French in 2017: Minuscule – Mandibles From Far Away [+see also:
film profile] by Hélène Giraud and Thomas Szabo, Pachamama by Juan Antin, Les Hirondelles de Kaboul by Zabou Breitman and Elea Gobbé-Mévellec, La Traversée by Florence Miailhe, and The Girl Without Hands [+see also:
film profile] by Sébastien Laudenbach. And for 2018, there are already a handful of movies that have been approved, such as Le Sommet des dieux by Eric Valli and Jean-Christophe Roger, Asterix: The Secret of the Magic Potion by Alexandre Astier and Louis Clichy, The Fantastic Voyage of Marona by Anca Damian, Vic the Viking by Éric Cazes, J’ai perdu mon corps by Jérémy Clapin, and Sam Sam by Tanguy de Kermel. Interestingly, in 2017, the average budget of approved films stood at €5.9 million, and the share of foreign investments in French productions is traditionally higher in the field of animation than it is in other cinematic genres (fiction and documentary).
In terms of distribution, 36 hitherto unseen animated features came out in French theatres last year, 14 of which were American, five French and nine of other European nationalities. On average, an animated film is distributed across 344 screens in France (383 for French features, 584 for US productions and 128 for non-French European titles). In total, animated films racked up 31 million admissions in France last year (2.9 million of which were for national films, or 9.3% of the market, as against 82% for US movies and 4.5% for features from the rest of Europe, thanks in particular to the Belgian movie The Son of Bigfoot [+see also:
interview: Ben Stassen
The CNC study is accessible in its entirety here (in French).
(Translated from French)
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