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BOX OFFICE France

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In Bed with Victoria and Frantz delight audiences

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- It’s French arthouse film’s time to shine courtesy of Justine Triet and François Ozon. German director Maren Ade and Canadian Xavier Dolan also stand out

In Bed with Victoria and Frantz delight audiences
In Bed with Victoria by Justine Triet

It’s a cheerful and promising comeback at the box office for French arthouse film, which has two titles at the top of the weekly box office rankings, one in first place and one in third. In Bed with Victoria [+see also:
film review
trailer
film focus
interview: Justine Triet
film profile
]
by Justine Triet, a sophisticated and extravagant comedy starring sensational Belgian actress Virginie Efira, un second feature film that met with a warm reception when it opened Critics’ Week at the 69th Cannes Film Festival, went straight to the top of the rankings in its first week in theatres, with 260,326 admissions in 237 theatres (distribution: Le Pacte). 

(The article continues below - Commercial information)Cine Iberoamericano Int

Meanwhile, Frantz [+see also:
film review
trailer
film focus
Q&A: François Ozon
film profile
]
by François Ozon, which was unveiled in competition at the 73rd Venice Film Festival (where it stood out among the winners for winning the Marcello Mastroianni Award for Most Promising Actor/Actress, which was awarded to German actress Paula Beer), has stacked up 314,282 admissions in two weeks, and is holding its own, only dropping 5.44% in admissions in the second week and seeing its distribution gradually increased by Mars Distribution (210 theatres in the first week, 275 in the second and 322 as of yesterday). 

Several other French films have also been doing well at the box office this September: Odd Job [+see also:
trailer
film profile
]
by the late Pascal Chaumeil (329,781 viewers in three weeks - Gaumont in 372 theatres), A Kid [+see also:
film review
trailer
interview: Philippe Lioret
film profile
]
by Philippe Lioret (250,000 admissions in three weeks and remarkable stability, with admissions down by only 8.02% in the 3rd week - Le Pacte in 261 theatres), the winner of the Caméra d'Or at Cannes Divines [+see also:
film review
trailer
film focus
interview: Houda Benyamina
film profile
]
by Houda Benyamina (229,306 admissions in three weeks and putting up a good fight, with figures down by only 17% in the 3rd week - Diaphana in 243 theatres), and comedy We Are Family [+see also:
trailer
film profile
]
by Gabriel Julien-Laferrière (676,000 admissions in six weeks, distributed by UGC in 318 copies).

Turning to European films from outside France, Toni Erdmann [+see also:
film review
trailer
film focus
Q&A: Maren Ade
film profile
]
by German director Maren Ade, the astonishing revelation of the competition at Cannes this year, is doing very well indeed in France, with a total 307,000 admissions in five weeks (Haut et Court in 248 copies), and animated film The Red Turtle [+see also:
film review
trailer
film profile
]
by Dutch filmmaker Michael Dudok de Wit, which was also unveiled on the Croisette (and won the Special Jury Prize in Un Certain Regard), has had a long run, with 291,811 admissions in 11 weeks (Wild Bunch Distribution in 144 copies).

French audiences have also reacted positively to the release of It’s Only the End of the World [+see also:
film review
trailer
film profile
]
by Canadian director Xavier Dolan. After winning the Grand Prix at the Cannes Film Festival this year with its all-star French cast (Gaspard Ulliel, Marion Cotillard, Vincent Cassel, Nathalie Baye, Léa Seydoux), the film started off at the top of the rankings on its first day in theatres on Wednesday, with 62,449 admissions across the 391 copies released by its French producer and distributor MK2.

(Translated from French)

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