France’s Film and TV Market, Unifrance Rendez-Vous, Expands Its Paris Showcase With Over 80 Screenings and 500 International Buyers

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Following the impressive 2024 box office results where French films captured nearly a record share of the market, Unifrance – the French film and television promotion organization – is growing its Rendez-Vous with French Cinema event. This mini-market brings together local sales agents and approximately 500 international buyers from around 40 countries.

After French films achieved a near record share in the 2024 box office, Unifrance is expanding its Rendez-Vous with French Cinema event, which invites local sales agents and about 500 international buyers from around 40 different countries.

This year, the 27th Paris Rendez-Vous – an event focusing on French films and television content – is happening at a fresh venue, the Pullman Paris Montparnasse. Known for its breathtaking cityscape views, this new location will provide a central hub where French film and TV companies can establish themselves, fostering deal-making opportunities.

It’s been three years since we merged with TV France International, and I must say it feels fantastic to have everyone united under a single flag, especially in this one-of-a-kind location. The energy here is electric!” said Daniela Elstner, who used to head Doc & Film International based in Paris, now our managing director at Unifrance.

Originally designed to facilitate pre-arranged meetings between sales agents and leading distributors prior to the European Film Market, the showcase has since evolved. It now includes press events featuring prominent French actors promoting their work, as well as screenings of French TV shows and a full-day conference focused on exports. Known as “The Rendez-vous,” this event is increasingly vital for French sales agents in an era where established markets are facing challenges. For example, the American Film Market (AFM) has diminished in allure following its move to Las Vegas, and MipTV in Cannes was discontinued and will be relocated to London this year.

Elstner points out that an increasing number of buyers are attending the Unifrance Rendez-Vous, with sales companies hosting events at their own offices and producers organizing meetings and functions alongside our market. He adds that being in Paris offers numerous benefits! Elstner also notes that the absence of MipTV will be noticeable approximately six months from now.

The Paris Rendez-Vous now includes a significant part, the junket activity, where more and more French talent are eager to interact with foreign media representatives.

Over a thousand interviews are being arranged for this year at the Rendez-Vous. These meetings have become an essential part of everyone’s schedule. It’s not just sales agents, distributors, but also artists, agents, and producers who find it crucial to engage in discussions about their films and TV series with international journalists,” Elstner emphasizes.

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Lately, Unifrance has established the “10 to Watch” franchise as a means to spotlight emerging French talent, and they’ve also introduced the French Cinema Award that recognizes actors, directors, and producers who have boosted the international reputation of French cinema. This year, the honor will go to Rebecca Zlotowski, the critically acclaimed director of “Other People’s Children”, who has recently finished shooting “Vie Privée” in Paris featuring Jodie Foster.

The Rendez-Vous event begins on January 13, featuring discussions showcasing French cinema and television exports. This is followed by the grand premiere of “The Musicians,” a touching film directed by Gregory Magne (known for “Perfumes”), starring Valérie Donzelli (“Declaration of War”) and Frédéric Pierrot (“Polisse”). On the same day, there will be a networking event gathering approximately 800 industry professionals.

2024 marked a significant milestone for France’s theatrical market, as it led Europe with a robust gross of €1.36 billion ($1.41 billion) from 181.3 million ticket sales. Unlike other European countries that experienced a downturn in ticket sales during the previous year, France displayed remarkable resilience and signs of strong post-COVID recovery. It even surpassed a 15-year record by holding a 44.4% market share for domestic films. The top two movies of the year were “A Little Something Extra,” a heartwarming comedy directed by and starring comedian Artus, alongside a cast of non-professional actors with disabilities, and “The Count of Monte-Cristo,” an adaptation of Alexandre Dumas’ classic novel, directed by Matthieu Delaporte and Alexandre de la Patellière, who also directed “The Three Musketeers.

2024 saw French cinema captivating theater-goers, particularly the younger generation, who repeatedly watched films such as ‘A Little Something Extra,’ ‘The Count of Monte-Cristo,’ and ‘Beating Hearts (L’Amour Ouf).’ Some even ventured into arthouse movies, like ‘The Story of Souleymane’ and “The Seed of the Sacred Fig.’ Elstner notes this trend. She adds that this success, along with the unique Olympic Games ceremonies, emphasizes France’s cultural importance and makes it an appealing destination for creators, artists, and distributors in a year that might otherwise be gloomy.

At the Unifrance Rendez-Vous event, a total of 83 films will be shown to potential buyers. Among these, 52 movies, including “The Musicians”, will have their market premiere.

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During the Unifrance Rendez-Vous, 83 films are scheduled for viewing by buyers. Out of these, 52 films, which include “The Musicians”, will debut on the market for the first time.

According to Gilles Renouard, Unifrance’s co-managing director, the extensive selection of film screenings next year showcases the wide range of French film production in 2024. This variety is a testament to the revival of diversity and output, bringing it back to levels seen prior to COVID-19.

Renouard notes a trend moving from standard comedies to more dramatic ones with themes of acceptance and inclusivity, as exemplified by movies such as Lola Doillon’s ‘Different’, Élise Otzenberger’s ‘Call of Water’, and Judith Davis’s ‘Hello Madness’. These films are showcased at the Unifrance Rendez-Vous. Interestingly, this theme of inclusiveness was so prominent that it essentially became the focus of the screenings at the Rendez-Vous.”

Or more informally:

“Renouard points out a change from typical comedies to those with deeper themes like acceptance and inclusivity, such as Lola Doillon’s ‘Different’, Élise Otzenberger’s ‘Call of Water’, and Judith Davis’s ‘Hello Madness’. These movies are being screened at the Unifrance Rendez-Vous. It turns out that the theme of inclusiveness was so strong, it basically took over the screenings at the Rendez-Vous.

Similar to Elstner’s viewpoint, Renouard asserts that the thriving success of French films domestically has fostered optimism within the domestic film industry, favorably impacting both production and distribution businesses. While some companies have unfortunately ceased operations post-pandemic, the executive highlights the adaptability and robustness of the French sales sector, with fresh players joining the market.

Despite French films not achieving the same global success in 2024 as anticipated, Renouard expresses optimism that the negative trend could be reversed in 2025. He believes this is because international cinematic markets may take a longer time to completely bounce back from the pandemic’s impact.

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2025-01-13 17:17