French films face fewer paths to U.S. theaters, distributors say
Distributors at the American French Film Festival described a tightening market for foreign-language releases, from buying films to finding screens.
By Poppy Nakagawa · Culture Writer
3 min read
French films in U.S. theaters face a squeeze long after the festival applause fades, according to distributors who spoke at the American French Film Festival in Los Angeles. Executives from Cohen Media Group, Strand Releasing and Outsider Pictures said the route from acquisition to a viable theatrical release has become harder for French and other independent international films.
Their account was a three-stage bottleneck: fewer potential U.S. buyers, fewer arthouse screens and fewer ways to earn money after a film leaves theaters. These were panelists’ assessments, not market-wide measurements.
Festival attention can put a film in front of buyers and audiences, but it does not guarantee a U.S. release. Screen Daily reported that the festival serves as a meeting point where distributors promote acquisitions and sales agents present films still seeking U.S. buyers; about 75% of attendees are industry professionals.
Why are French films struggling to reach U.S. theaters?
John Gerrans, co-president of Strand Releasing, said the buyer pool has narrowed even as the most sought-after international titles attract fierce competition. Variety reported that Neon, Netflix, Mubi, A24 and Sony Pictures Classics are among the companies pursuing prominent titles, particularly films from established directors.
That can put smaller distributors in a tough spot. Gerrans said a company may spot a well-reviewed film with clear commercial potential, only to lose it to a larger buyer. He said Strand sometimes asks exhibitors whether they would book a title before acquiring it, especially when a sales agent requires a theatrical release.
Then comes the screen hunt. Robert Aronson, executive vice president of Cohen Media Group, said arthouse venues that once focused on specialty cinema are increasingly programming mainstream Hollywood releases, while some have closed. He said that even Cohen’s ownership of Landmark Theatres does not assure bookings for its international releases because individual theaters make their own business decisions.
Paul Hudson, CEO of Outsider Pictures, described a crowded race for New York bookings at venues such as the IFC Film Center, the Quad and the Angelika. Variety’s syndicated report said repertory titles, television series screened in multiplexes and special events also compete for limited slots, and that distributors sometimes rent screens to secure a launch.
Recognizable names can make a difference. Gerrans said Isabelle Huppert’s role in Strand’s acquisition of The Blood Countess helped the company secure bookings and festival interest. Samuel Goldwyn Films, meanwhile, released the first part of Antonin Baudry’s De Gaulle in key U.S. markets alongside transactional video on demand, Variety reported.
The box-office bar has shifted, at least in two high-profile examples cited by Variety. Jean-Pierre Jeunet’s Amélie made about $33 million domestically roughly 25 years ago. Justine Triet’s Oscar-winning Anatomy of a Fall, released by Neon, earned about $5 million in the U.S. That comparison is illustrative, rather than proof of a market-wide decline.
The pressure continues after the theatrical run, the distributors said. DVD income has largely vanished, television sales have fallen and streaming licenses are worth less, leaving independent distributors with fewer routes to recover what they spend on films.
The festival is also trying to build future viewers. According to Screen Daily, organizers planned free screenings and question-and-answer sessions for 3,000 students from 60 Los Angeles schools. The festival’s official site listed its 30th edition at the DGA Theater Complex from Nov. 3 to 8.
This story draws on original reporting from Variety.