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BOX OFFICE France

Six million flock to Arthur and the Invisibles

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In only seven weeks in cinemas, Luc Besson’s animated film Arthur and the Invisibles [+see also:
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has hit the 6m admissions mark.

Grossing €35.6m in France, the feature finished in fifth position in the weekly box office listings (January 24-30), which registers a string of successes for seven French films that trail behind the box office champion, US production Rocky Balboa.

The most popular French title was Régis Wargnier’s crime drama Have Mercy on Us All [+see also:
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, which garnered 420,000 admissions in its first week, followed by Laurent Boutonnat’s Jacquou Le Croquant [+see also:
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]
, attracting 630,000 after two weeks on screens.

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Hot on their heels was Eric Barbier’s thriller The Snake [+see also:
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, with 680,000 filmgoers in three weeks.

Catherine Corsini’s recently released Ambitious [+see also:
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]
came in sixth with 127,000 admissions, ahead of Pierre Salvadori’s Priceless [+see also:
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, which continues its impressive performance with 2.05m cinemagoers in seven weeks.

Lastly, Frédéric Schoendoerffer’s Crime Insiders [+see also:
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film profile
]
holds eighth position in the weekly listings, drawing 270,000 to cinemas in two weeks.

Also noteworthy is the 55% rise in attendance for Pascale Ferran’s Lady Chatterley [+see also:
film review
trailer
film profile
]
. The title is making the most of its nine Cesar nominations to reach 173,000 admissions after 13 weeks on screens, an exceptionally lengthy release for an arthouse film distributed on only 60 screens.

Non-French European films doing well include: Cashback [+see also:
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]
by Sean Ellis (100,000 in two weeks), Philip Gröning’s German documentary Into Great Silence [+see also:
film review
trailer
interview: Philip Groening
film profile
]
(125,000 in six weeks, see Focus), and Romanian filmmaker Corneliu Porumboiu’s 12:08 East of Bucharest [+see also:
film review
trailer
interview: Corneliu Porumboiu
interview: Daniel Burlac
film profile
]
(Focus), a hit among critics and audiences alike (52,000 in three weeks after its release on 40 screens).

Meanwhile, German director Matthias Luthardt’s Pingpong [+see also:
film review
trailer
interview: Matthias Luthardt
interview: Sebastian Urzendowsky
film profile
]
(see Focus) recorded a more modest 12,000 admissions in its first week (30 screens) and Italian director Gianni Amelio’s The Missing Star [+see also:
trailer
film profile
]
attracted a mere 7,600 filmgoers on 18 screens.

(Translated from French)

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