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Year-end Market Reports (Brazil goes up, Italy goes down)

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FRANCE

Preliminary figures from France’s National Cinema Centre reveal 4.2% rise in cinema attendance in 2011.

Buoyed by the success of homegrown hits Les Intouchables [pictured] and Nothing to Declare, French cinema attendance hit a 45-year high of 215 million entries in 2011, according to provisional statistics from France’s National Cinema Centre (CNC).

“This result is far higher than the ten-year, annual average of 191 million. It’s constitutes a record not reached in 45 years, since the 234 million admissions of 1966,” the CNC said in a statement.

The 2011 figure represented a 4.2% increase on 2010, which posted 206 million admissions.

The bumper result is all the more surprising given the moribund start to 2011, which saw attendance fall by 6.2% for the first six months. January posted a year-on-year drop of 22.5%, and April, a fall of 28.5%, before cinema-going bounced back.

The CNC said attendance had been “particularly dynamic” in the second half of 2011, posting a 14.8% rise in entries against the same period in 2010. In November, admissions rose by 33.5% to nearly 26 million and in December by 28.6% to nearly 25 million.

Admissions for French films rose by 21.4% to hit 89 million entries. It was the best performance for local pictures since 1984, when they garnered 94 million entries, and way above the ten-year, annual average of 73 million entries. The market share for French films increased to 41.6% in 2011, against 35.7% in 2010.

American films attracted 99 million spectators, for a slight increase of 0.8% year-on-year, and above the ten-year average of 90 million. The market share for American pictures fell, however, to 46%, against 47.6% in 2010.

Films from other elsewhere fared less well — accounting for 12.4% of the market in 2011, against 16.7% in 2010, or 26 million entries.

The top five performing films in France of 2011 comprised Les Intouchables, Nothing to Declare, Harry Potter and The Deathly Hallows: Part 2, The Adventures of Tintin and Pirates of the Caribbean: On Stranger Tides.

Les Intouchables continues to rise up France’s historic box office chart.

As of December 28, when admissions stood at 16.6 million, the film lay in fifth place, behind Gone with the Wind, the 1966 Franco-British, World War Two comedy La Grande Vadrouille (Don’t Look Now… We’re Being Shot At), Welcome to the Sticks and Titanic, which has retained the top slot since 1998 when it attracted 20.6 million spectators.

Edited by Fake
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CHINA

The Chinese box office total gross reached $2.06bn (RMB13 billion) in 2011, up around 30% from 2010. Compared to the 61% growth rate in 2010, the 2011 growth shows some slowdown.

The boom of cinema development as well as the large number of 3D releases are two main reasons for the 30% growth.

Transformers: Dark of the Moon contributed $172.86m (RMB1.089bn) and topped China’s box office chart 2011. Kung Fu Panda 2 took in $96.82m (RMB610m). Zhang Yimou’s war epic The Flowers of War earned $92.83m (RMB488m), and is still on release. The Pirates of the Caribbean: On Stranger Tides took in $73.81m (RMB465m). Tsui Hark’s 3D martial arts film Flying Swords of Dragon Gate earned $68.89m (RMB434m)

Out of the top 10 films in 2011, six films were released in 3D. And in total there were over 30 films released in 3D in 2011, 14 out of the 30 films were Hollywood blockbusters. The 30 3D releases made more than RMB5billion, which accounted for 40% of the total box office gross in 2011.

On the other hand, a majority of Chinese-language productions fell short of the expected sales in 2011, especially many period dramas such as Wu Xia, The Lost Bladesman and A Chinese Fairy Tale. Local production reached 500 films in 2011. However, according to local distributors, about 90% of the local films released in movie theaters in China in 2011 lost money; only about 10% of the films made a profit or broke even. This record is worse than the profit rate in 2010, which was around 20%.

China’s State Administration of Radio Film and Television (SARFT) is yet to announce the official 2011 statistics. However, according to SARFT’s monthly figures up until the end of November, as well as ScreenDaily’s in-house box office research, the foreign film box office may very likely, for the first time in nine years, out-perform local box office takings.

At the exhibition sector, industry experts say that there are more than 2,600 new screens increased in 2011, making the total screen number more than 9,000.

China Top 10 films 2011

1. Transformers: Dark of the Moon - $172.86m (RMB1.089bn)

2. Kung Fu Panda 2 - $96.82m (RMB610m)

3. The Flowers of War - $92.83m (RMB488m) *

4. Pirates of the Caribbean: On Stranger Ties - $73.81m (RMB465m)

5. Flying Swords of the Dragon Gate - $68.89m (RMB434m) *

6. Harry Potter and the Deathly Harrows Part II - $65.08m (RMB410m)

7. Beginning of the Great Revival - $64.92m (RMB409m)

8. Love is Not Blind - $55.71m (RMB351)

9. The Smurfs - $41.27m (RMB260m)

10. Fast and Furious 5 - $40.63m (RMB256m)

* Still on release

Sources: SARFT and Screen International

Edited by Fake
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NORWAY

2011 cinema attendance up 5.7% on 2010; national films take 24.5% marketshare.

According to a report from the Norwegian Film Institute, in 2011 Norwegian cinema attendance rose 5.7% on 2010.

With a year attendance of 11,650,000, Norwegian cinemas delivered the largest growth of the theatrical market in Europe, according to statistics from Norwegian cinema association, Film & Kino.

For the fourth year local fare exceeded 2.5 million admissions, to close at 2,855,000 to control a record 24.5% of the market – the highest percentage since 1975.

”The increase is partly due to the strong performance of local films – a record of 40 releases in 2011,” explained Film & Kino head of communications Birgitte Langballe. “And partly the digitisation of the cinemas, which allows small and medium-sized screens to improve their repertoire and programme more titles.”

”Some of the domestic productions have been regional productions with limited distribution, but eight titles have reached audiences of 100,000 or more, accounting for 66% of local box office. The Norwegian front runner is Morten Tyldum’s Headhunters (Hodejegerne) [the second most-successful film of the year behind Harry Potter and the Deathly Hallows: Part 2] .”

In 2011 Norway was the first country in the world to convert all of its cinemas to digital.

Three Norwegian films made the territory’s top ten at the box office, while the strong crop of Nowegian films included André Øvredal’s well-sold The Troll Hunter (Trolljegeren), which was selected for more than 45 international film festivals. Other festival favourites from the territory included Marius Holst’s King of Devil’s Island (Kongen av BastØy), Anne Sewitsky’s Happy, Happy (Sykt lykkelig) Arild Andresen’s The Liverpool Goalie (Keeper’n til Liverpool), Joachim Trier’s Oslo, August 31st and Jens Lien’s Sons of Norway.

Upcoming Norwegian titles with local and international appeal include Joachim Roenning and Espen Sandberg’s Kon-Tiki and Sara Johnsen’s All That Matters is Past (Det viktigste er forbi).

Edited by Fake
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Chinese market, wow. When can it overtake USA. Last year it finished 1/5 of the USA.

I expect around 2020.At 30% growth per year, it will take 6 years to grow 5-times its present size. Though the growth may slow down a bit after a couple of years. At 20% growth per year, it will take 9 years to grow the same.The main factor hindering it right now is the 20-film quota for foreign films. It needs to be lifted or relaxed to at least 30-films for the time being.
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My first post in the new forum.

I'm from Colombia

tickets sold: 38.011.893 up 12.9% on 2010

13 movies passed 1 millon tickets a record, compared to the most recent years: 2008 0, 2009 4, 2010 6

In the top 10, 8 3D movies, fast five and a local comedy (we love 3D)

1 THE SMURFS 3D 1.894.025

2 RIO 3D 1.723.805

3 PIRATES OF THE CARIBBEAN: OST 3D 1.409.495

4 KUNG FU PANDA 2 3D 1.387.629

5 TRANSFORMERS 3 3D 1.326.835

6 HARRY POTTER 3D 1.215.976

7 EL PASEO 1.189.607

8 TANGLED 3D 1.123.812

9 FAST FIVE 1.112.297

10 CARS 2 3D 1.104.178

Edited by cap921
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Welcome to the forums.That top-2 is really surprising.

thanks, family movie + 3D + no competitionRio had the best release date april 8th, big first weekend with a high screens count, then with the easter (10 holydays), it had a wonderful -8% 2nd and 3rd weekends holds, then even with thor it had a -28% 4 weekend hold.Pretty much the same with the smurfs who ruled augustCoincidentally, rio and the smurfs were the only two films i saw twice
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UK

UK box office crossed £1bn mark for third consecutive year in 2011, 3D receipts down 5.9%.

UK box office was up 4.5% year-on-year in 2011 at £1.129bn according to figures from Rentrak EDI.

The UK box office crossed the £1bn mark for the third consecutive year. The 4.5% improvement is the third biggest improvement in the last five years. July was again the most lucrative month on £151.7m.

However, 3D revenues accounted for £245m, or 21.56% of the box office, which is a 5.9% year-on-year decline.

The UK accounted for 20.8% of the European box office, up 0.7% on 2010. The territory’s top five titles were Harry Potter and the Deathly Hallows: Part 2 (£73.1m), The King’s Speech (£45.7m), The Inbetweeners Movie (£45m), Pirates of the Caribbean: On Stranger Tides (£32.9m) and The Hangover Part II (£32.8m).

Warner Bros claimed the largest distributor marketshare in 2011 with £208.3m or 18.44%, a marginal improvement on its 2010 top marketshare of 18.35%. With £73.1m of receipts Harry Potter and the Deathly Hallows: Part 2 accounted for 35% of the distributor’s total box office.

Paramount replaced Fox in second place on £183.2m (16.2%) marketshare, while Universal posted the biggest year-on-year improvement among the majors in third on £113.8m.

Fox slipped to fourth from second on £125.3m while Disney was the biggest faller, dropping from 14.3% marketshare in 2010 to 8.7% in 2011. Sony once again came in sixth, posting total receipts of £83.1m.

Entertainment Film Distributors was the best of the rest, grossing £76.4m from 22 films, with summer smash The Inbetweeners Movie accounting for 59% of their total.

eOne had the eighth biggest box office on £57m from only 11 films, followed by Momentum on £52.9m from 13 films (The King’s Speech accounted for 85% of the company’s box office), StudioCanal made £43.8m from 42 films and Lionsgate tallied the 11th best results on £15.9m from 16 films.

Among the studios Universal released the most films with 34, followed by Fox on 31 and then Warner Bros and Paramount who both had 30. StudioCanal was the most prolific UK distributor releasing 42 films.

The data in this article refers the to 52-week period Jan 7 2011 to Jan 5 2012. NB 2010 was a 53-week year.

Edited by Fake
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RUSSIA

Russia/CIS box office (excluding Ukraine) grows 11.74% in 2011.

The Russian and the CIS box office (except Ukraine) set a new record in 2011, reaching $1.155 billion, which is 11.74% higher, over the previous year, when it estimated at $1.057 billion, according to Russia’s Film Business Today.

Central Partnership was the largest distributor in 2011 (as it had been in 2010), with box office totaling $294.7 million for a market share of 25.52%. In second place was Walt Disney Studios Sony Pictures Releasing (WDSSPR), which is a joint venture of Walt Disney Studios Motion Pictures International and Sony Pictures Releasing International), which earned $281.53 million, with the market share more than 24.37%.

Pirates of the Caribbean: On Stranger Tides (released by WDSSPR) was the highest-grossing film of the year at $63.7 million. Puss in Boots and Transformers 3: On the Dark Side of the Moon were the second and the third highest grossing films with $47.3 million and $45.2 million, respectively. At the same time Pirates of the Caribbean set a new record in terms of the number of released screens of 1,716.

Total number of films released in 2011 fell to 306, compared with 338 the previous year. Attendance has grown only by 0.02%, while in 2010 the growth was almost 20%.

The share of domestic films in total box office fell to 12.6% compared with 14.5% a year earlier.

In 2010, the increase in the Russian film market was much more dramatic at 43.6%.

Edited by Fake
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BRAZIL

Brazil broke the all-time box office record in 2011, grossing $790m (real 1.41bn) from 141.6m admissions.

The figures represent an increase of 12% in total sales and 5% in tickets sold, according to Filme B, a local film company that reviews theatrical market data.

This is the third consecutive year that Brazil has achieved an increase in its box office – even though growth percentage is lower than that of in 2010, when there was a 30% climb in revenue and 20% rise in admissions.

According to Filme B, 181 new screens that opened in the country in 2011 were responsible for approximately 50% of the market growth.

There was not, however, a commensurate improvement in the performance of Brazilian films. Domestic titles were seen by 17.8m people, grossing $91.9m (real 164m) and accounting for a market share of 11.6%, which represents a drop of 27.3% in sales.

The highest grossing local film was Cilada.com, which totalled $15.9m (real 28.4m), followed by De Pernas Pro Ar with a gross of $15.5m (real 27.7m). Both are rom-coms, a genre that dominated the public’s preference in terms of local product and represented five of the top 10 local titles.

Brazil’s top 10 films of 2011

Rio (pictured) – $38.5m (real 68.7m)

The Twilight Saga: Breaking Dawn – Part 1 – $35.9m (real 64.1m)

Harry Potter And The Deathly Hallows: Part 2 – $32m (real 57.1m)

The Smurfs – $29.3m (real 52.2m)

Pirates Of The Caribbean: On Stranger Tides – $27.6m (real 49.2m)

Tangled – $22.3m (real 39.8m)

Puss In Boots – $20.2m (real 36.1m)

Transformers: Dark Of The Moon – $20.1m (real 35.9m)

Cars 2 – $18.9m (real 33.7m)

Fast Five – $ 18.7m (real 33.4m)

Edited by Fake
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ITALY

The Italian box office dropped 10% in 2011 earning an overall $844m (€661m), despite a banner year for Italian films led by Medusa’s What A Beautiful Day.

Day, which earned $55m (€43.4m) was also Italy’s top local film of all time. In 2011, that film and other projects placed Medusa as top distributor of the year.

But it was a series of local titles that earned a total of €235m, including co productions ($300m), helping Italy take a strong 37.51% of the market share, up from 2010’s 31.91%. Four local titles made it to the years top ten.

In addition to the Italian hits, the Italian motion picture organization, Anica’s president Riccardo Tozzi pointed out an additional 22 local films made more than $3.8m (€3m).

The 10% over-all drop came mostly from a lowered interest in Hollywood titles here. Still, six of the year’s top ten titles were Hollywood fare, such as like Warner Bros’ last episode in the Harry Potter franchise which became Italy’s second best grosser from a $28.3m (Euros 22.2m) run.

Admissions in 2011 dropped by 7.9% with just 101.3mil tickets sold compared to just over 110m sold year-on-year with 2010, according to Cinetel figures, which covers roughly 90% of the market.

Given the success of local films, in particular comedies –Hollywood took a hit to the tune of 48.46% of the over all market share, down from their 2010 market share of 60.15%.

Despite this, six of the year’s top ten films were Hollywood pictures and they are expected to be stronger drivers in the upcoming year, with exhibitors expecting admissions to return to 2010’s numbers.

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