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ché mondial du !

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With its key indicators, FOCUS 2010 gives you a complete overview of the fi lm industry worldwide, and highlights new and up-and-coming areas such as Latin America and the Middle East.

It is an indispensable guide to understanding the undercurrents and changes in the interna- tional market, in a context where it has become vital to anticipate changes as they happen, to adjust strategies.

Jérôme Paillard Executive Director

Le FOCUS 2010 vous offre, avec ses indi cateurs clés, une vue d’ensemble de l’industrie du cinéma mondiale, et met en valeur de nouveaux terri- toires en pleine expansion, comme l’Amérique Latine ou le Moyen-Orient.

Un guide indispensable pour comprendre les courants et les évolutions du marché inter- national, dans un contexte où il devient indis- pensable d’anticiper les mutations en cours pour ajuster ses stratégies.

Jérôme Paillard Directeur Délégué

FOCUS 2010 World Film Market Trends, appears for the thirteenth consecutive year. We are pleased to collaborate once again with the Marché du Film and value highly our work together.

Wolfgang CLOSS Executive Director European Audiovisual Observatory

The European Audiovisual Observatory was set up in December 1992. It is a public-service body whose mission is to gather and distribute information on the audiovisual industry (fi lm, television, video and multimedia) in Europe. 36 European states are members, along with the European Community repre- sented by the European Commission. The Observatory operates within the framework of an extended par- tial Agreement of the Council of Europe. It carries out its mission with the help of a network of part- ners, correspondents and professional organisa- tions. The Observatory provides information on markets, fi nancing and legal aspects of the audio- visual sector.

!"Internet site (http://www.obs.coe.int)

FOCUS 2010, Tendances du marché mon- dial du film, paraît pour la treizième année consécutive. Nous nous réjouissons de cette colla- boration avec le Marché du Film, à laquelle nous portons toute l’estime qu’elle mérite.

Wolfgang CLOSS Directeur exécutif Observatoire européen de l’audiovisuel

Créé en décembre 1992, l’Observatoire euro- péen de l’audiovisuel est un organisme de service public consacré à la collecte et à la diffusion de l’information sur l’industrie audiovisuelle (cinéma, télévision, vidéo et multimédia) en Europe. 36 Etats européens en sont membres ainsi que la Communauté européenne représentée par la Commission euro- péenne. L’Observatoire fonctionne dans le cadre d’un Accord partiel élargi du Conseil de l’Europe et remplit sa mission avec un réseau de partenaires, de correspondants et d’organismes professionnels. L’Observatoire fournit des services d’informations sur les marchés, les fi nancements et le cadre juridique du secteur audiovisuel.

!"Site Internet (http://www.obs.coe.int)

Editor: Martin Kanzler [email protected] Analyst, Department for Information on Markets and Financing, European Audiovisual Observatory

Editorial

LEAD ARTICLE Public Aid for Digital Cinema The Lead Article takes a look at the legal questions raised by public support mechanisms aimed at facilitating the digitisation of cinemas. It looks at the legal construction and problems of three di! erent variants of national funding schemes and at the EU law with which these constructions eventually need to comply. It also describes two state aid schemes that have already been approved by the EU Commission and a tax incentive scheme currently under investigation. Finally, the Lead Article points the way ahead by explaining ongoing policy and funding activities of the EU. • Digital Cinema • State Aid for the Digitisation of Cinemas • EU Actions

RELATED REPORTING Reality Check for Digital Roll-out The Related Reporting supplements the information contained in the Lead Article and compares EU policy with the reality of promoting (or struggling with) digital cinema in various countries. • Aims and Concerns • Spring Boards • Stumbling Blocks

ZOOM Market Data The Zoom section equips you with a solid understanding of the market of commercial digital cinema screens and sites by providing concrete " gures on their country by country development in Europe.

Digital Cinema

IRIS plus - Digital Cinema:

• Electronic edition ISBN 978-92-871-6846-7 ! 33 -

• Print edition ISBN 978-92-871-6838-2 ! 24,50

• More information: www.obs.coe.int/oea_publ/iris/iris_ plus/publ_iplus2_2010

• At the Marché du Film 2010 in Cannes available on the stand of the Observatory: Palais des Festivals, Riviera Booth A6

• Order on line at: http://www.obs.coe.int about/order

• Order by email: [email protected]

• Order by fax: +33 (0) 3 90 21 60 19

76 Allée de la Robertsau F - 67000 STRASBOURG Phone +33 (0) 3 90 21 60 00 - Fax +33 (0) 3 90 21 60 19 www.obs.coe.int

is part of

RIS plus Digital Cinema:

Introduction 7

World 11

Europe European Union 14 France 22 Germany 24 Italy 26 Spain 28 United Kingdom 30 Russian Federation 32 Other Western Europe 34 Nordic Countries 36 Central and South-Eastern Europe 38 Poland 40 Turkey 41

Americas North America 42 Latin America 46

Australia 50

Asia 52 China 54 Japan 56 India 58 South Korea 59

Africa 60 Middle East 62

Sources 64

Contents

Introduction

The pace of cinema digitisation in Europe is undoubtedly quite surprising. Ten years after the unveiling of the fi rst equipment, it seemed to be very slow but, to the surprise of many, accelerated in the latter half of 2009. According to Screen Digest, the number of digital screens worldwide went up by 89% in 2009 and repre- sented about 15% of all modern screens at the end of December.

The role of James Cameron’s fi lm Avatar in this development is undeniable. What is para- doxical about this pleasantly ecological fi lm is that it is in fact itself, the terrible weapon of the logic that it illustrates: the destructive effi ciency of technologies once blindly unleashed on tradi- tional environments. At this point in time, many European cinema professionals suddenly feel just as threatened as the Na’vi in Avatar.

Various elements have contributed to this acceleration of the digitisation process: the des- ignation of the DCI format as the international standard, the development and propagation of the Virtual Print Fee (VPF) model by which dis- tributors contribute, through third-party investors, to fi nancing the digitisation of cinemas, and the arrival of 3D, which fi nally provided ex hibitors with a commercial argument by offering the public a new cinema experience. The history of the cinema teaches us that major innovations become fairly quickly established throughout the world cinema system as soon as the costs are borne by the majors and the big cinema networks. The move to digital is now clearly underway and it is impos- sible to see anything that could stop it.

There is no reason to doubt that the digi tisation of distribution is a step in the right direction. Like the development of multiplexes around ten years ago, the DVD and, more recently, Blu-ray and video on demand, digital cinema is an aspect of the modernisation of distribution that helps to keep the industry in good health.

However, this enthusiasm must not blind us to the risks inherent in the transition. These risks are obvious as far as something dear to the hearts of cinema professionals, cinéphiles and

cinema policy-makers worthy of the name is concerned: the existence of a network of inde- pendent cinemas that ensure the diversity of the fi lms offered and the circulation of minority interest works – European fi lms and fi lms origi- nating from production and distribution chan- nels other than the Hollywood based compa- nies, such as Asian, Indian, South American and African fi lms and independently produced fi lms from North America or Oceania.

The conference entitled “The independent exhibition and the challenges of digitisation” organised in Barcelona (4-6 March 2010) by the Spanish presidency of the European Union served to highlight the concerns of independent exhibi- tors and the diffi culties in introducing national or European policies. (1) The participants agreed that it was preferable for the transition process to be as short as possible since it led to cost duplication and therefore delayed achieving the economies of scale that could be generated for the benefi t of the fi nancially weakest.

Risk assessments for the fi lm exhibition sector in the European Union have been produced by the European Investment Bank, according to whose fi gures 4.4% of screens are already digi- tised without recourse to the VPF. In most cases, these are screens belonging to certain major cir- cuits that have decided to fi nance their transition themselves. About 5 400 screens out of 30 185 (or approx.17%) are allegedly unable to access the VPF system. However, this estimate presup- poses that the integrators’ rollout potential has been fully achieved. The integrators have already signed agreements for 4.7% of screens and are in negotiations with distributors for another 15.2%. In addition to the 17% considered at risk, there are accordingly more than 17 500 cinemas (or 58%) for which the validity of the VPF model still has to be demonstrated. This means there are considerable uncertainties. The fi nancial situ- ation of the third party integrators is not under discussion here but it seems clear that these new players are dependent on access to bank loans, which has been made more diffi cult by the crisis.

Saving Na’vi cinemas

(1) All the documents, speeches and conclusions of the conference are available at the Spanish Presidency’s website: http://en.www.mcu.es/MC/PresidenciaUE2010/Conferencias/ImpactoTecnologia.html

Links to sources of information and reference documents can be found at the European Audiovisual Observatory’s website: http://www.obs.coe.int/medium/digitalcinema_europe_links.html

Introduction

In this context, it is now admitted that the VPF model, in its different guises, is not universal and that alternative models need to be developed. The ideal is clearly for the exhibitors to be able to fi nance the transition themselves, which would potentially strengthen their programming autonomy. However, there can be no doubt at all that the fact that invest- ment capacities are often limited and the VPF model is not systematically applicable constitutes a failure of the market that justifi es public intervention. It is against this background that public bodies at the European, national, regional and local levels are trying to come up with solutions to support the transition. In September 2009, the Council of Europe Committee of Ministers adopted a recom- mendation on national fi lm policies, which states in particular that “public policies should urgently and proactively take into account the need to support the emergence of business models for digital fi lm and the development of new platforms and services for European cinema. Such models should respect the diversity and specifi city of cinemas in Europe and of their program- ming, and make sure that distributors keep control of release plans. Models should also ensure that all theatres wishing to engage in such a ‘digitisation process’ can do so in a co-ordinated way, and within a reasonable timeframe. European participation in the ongoing international digital cinema standards defi ni- tion process should be strengthened and enforcement of these standards should be ensured.”

The Barcelona conference illustrated the diver- sity of the solutions explored:

• At the European level, the European Commission launched a consultation of professionals in late 2009. The results should lead to the publica- tion by the Commission of a Communication on Opportunities and Challenges for European Cinema in the Digital Era and the incorpora- tion next autumn within the MEDIA 2007 Programme of a new support scheme for the digitisation of cinemas offering substantial European programming. Possible funding is also available, under certain conditions, through the structural funds, which involves the pre- sentation of dossiers by the regions and not the exhibitors. The European Investment Bank is also starting to become involved. In the fi rst instance, it is supporting the market solutions by facilitating access to funding (especially for the integrators). It then envisages becoming involved by supporting the other European

and national public initiatives to assist with the transition those cinemas that are unable to access the VPF model.

• At the national level, several support schemes are already in operation. In the United Kingdom, the UK Film Council launched its Digital Screen Network scheme in 2005. In Norway, the Film&Kino network of municipal cinemas launched its scheme in 2006 and negotiates VPF agreements directly with the majors. In Finland, the new measures for supporting the cinema industry, which were approved by the European Commission in 2008, include aid for cinema digitisation. In Sweden, the Swedish Film Institute launched a pilot project to sup- port the digitisation of 28 cinemas in 2009. In the Czech Republic, the State Fund for Support and Development of Cinematography launched a support programme in 2009. In Slovakia, a new fund was created in December 2009. In the Netherlands, in February 2010, the new Eye Film Institute has assigned the implemen- tation of a project to PriceWaterhouse and this should commence in July 2010.

• At the regional level, the Land of Bavaria set up a support system in 2009. In Poland, the region of Ma!opolska (Cracow) has succeeded in obtaining aid from the Community struc- tural funds as part of a project to develop tourism and the cultural industries.

• At the local level, there are a few municipali- ties that provide support for the digitisation of cinemas located in their area.

In several countries, support schemes have run up against political or legal diffi culties. (2) In Germany, negotiations on the implementation of a support scheme worth 40 million euros, proposed in June 2009 by the Federal Film Board (Filmförderungsanstalt – FFA), was rejected in November 2009 by the fed- eration of exhibitors, which does not accept the principle of this support being offered in exchange for the withdrawal of the exhibitors’ complaint to the Federal Constitutional Court concerning their alleged unequal treatment: their contribution to the funding of the FFA is compulsory, whereas that of the television broadcasters is voluntary. In Italy, the tax credit plan proposed by the government in 2009 for the installation of digital projection equipment is being investigated by the European Commission’s DG Competition. At the beginning of April 2010, the Commission had not yet issued its opinion. Finally,

(2) For a detailed analysis of the legal aspects of this question, see Digital Cinema, IRIS Plus, European Audiovisual Observatory, April 2010.

ONE FILM, ONE NUMBER, WORLDWIDE ISO 15706

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Introduction

in France the plan for a mutual fund drawn up by the CNC in 2009 has had to be abandoned in response to the Opinion of the Competition Authority, which held that the system would have caused signifi cant distortion of the market for funding the transition. The CNC was therefore forced to propose an alter- native plan in March 2010.

The procedure opened by the Commission on the Italian case is particularly important for the whole of Europe: the Commission has to assess the compatibility of tax credits for exhibitors with Article 83(3)(c) of the EC Treaty or with the excep- tion in the case of aid to promote culture provided for by Article 87(3)(d). The Commission accord- ingly has to check the need for the aid as well as its proportionality and relevance. The various com- ments sent to the Commission by the national agen- cies and professional bodies tend to support the need for public assistance and agree that the Italian government’s proposal is appropriate.

The focus of the European debate is on the support available to fi lm exhibition companies to enable them to fi nance their equipment. However, the impact of the transition on the different areas of the sector should not be underestimated: not only the impact on the technical industries – we are likely to witness the disappearance of print pro- duction facilities in a few years’ time – but also on distri bution and production. The rapid increase in cinema digitisation that took place in the second half of 2009 is forcing the independent distributors and sales agents to speed up making their own strategic choices. At the same time, the political and legal uncertainties affecting the transition timetable of the independent cinemas is a destabilising factor. The very nature of the business of managing the scarcity of prints is about to change, since digiti- sation will radically alter ways of accessing fi lms. These uncertainties as far as distribution is con- cerned are clearly having an impact at the level of independent production, which is also going to be hit by the additional costs involved during the transition period and will probably also be affected by the uncertainties of the timetable. (3) All this will be compounded by the diffi culty in Europe in responding to the announced fl ood of productions in 3D, a technology that requires big development and production budgets if it is to be successfully exploited. Some European producers of animated fi lms are taking risks in this area but the market share effects produced by Hollywood observed

in 2009 and the fi rst quarter of 2010 are likely to continue in the months and years ahead.

It seems urgent that the European fi lm industry emerge from the present confusion and for a time- table for completing the transition to be deter- mined by mutual agreement between the parties. It is striking to compare the methods employed for the digital transition in the cinema sector with those of the television sector, where Europe has succeeded in laying down its standards, regula- tory framework and transition timetable, with tran- sition already completed in some countries and proceeding smoothly in most of the others. As far as the cinema is concerned, Europe has had no alternative but to adopt de facto the DCI standard chosen by the American distributors and registered as ISO standard, and it is still very diffi cult to estab- lish common legal rules and a timetable. European television is a sector dominated by a few big pri- vate and public groups with signifi cant planning and investment capabilities, and the issue of the release of spectrum used for analogue transmission has stirred the institutions and economic players into action. Despite the existence of a number of integrated groups, the European cinema sector, whether it be production, distribution or fi lm exhi- bition, is still essentially one made up of micro- or even nano- companies with low profi tability and weak investment capabilities.

It may be this structural fragility that accounts for the charm and romanticism of European fi lm industry. This fragility, creative and rich in many different tal- ents, enables it to lay claim to being an alternative to the Hollywood model, which, despite everything, is still dominated by planning and rationalisation. However, if Europe wants to continue to offer the world the wealth of its cinema, it is important for it to succeed in bringing about mutual co-operation between all the sector components, both public and private, in order to ensure a smooth transition. We believe this applies all the more because the dig- ital surge defi nitely poses a threat to other Na’vi tribes worldwide whose resistance and investment capabilities are still weak and because the alterna- tive European model is being monitored with great interest in other parts of the world.

André Lange Head of the Department for Information on Markets and Financing European Audiovisual Observatory

(3) It should be noted that the Council of Europe’s Eurimages Fund offers producers fi nancial assistance for the production of digital masters.

World

Admissions | 2005-2009 In millions.

Gross box offi ce | 2005-2009 In USD million. National currencies converted at average annual interbank exchange rates.

Sources: MPAA, OBS, EIREN, Screen Digest

Sources: MPAA, SARFT, EIREN, OBS

North America

EU 27 e

China e

Japan

China e

World

Number of screens | 2005-2009

Sources: OBS, MPAA, EIREN, SARFT

Number of digital and 3D screens | 2008-2009

Sources: MPAA, Screen Digest

(1) Excluding drive-in screens.

(2) Modern screens.

US (1)

Digital 2D screens

Digital 3D screens

EU 27 e

China (2)

Japan

World

(1) Still on release in 2010. Sources: Variety, OBS (2) Films available in 3D distribution.

(1) Revised series.

Top 20 fi lms worldwide by gross box offi ce | 2009 USD million.

Number of feature fi lms produced in the European Union, the United States and Japan | 2005-2009

(1) Revised series

Sources: OBS, MPAA, EIREN

EU 27 fi lms produced e

US fi lms produced (1)

Chinese fi lms produced Japanese fi lms released

Original title Studio Country of origin

North American box offi ce

International box offi ce Total

1 Harry Potter and the Half-Blood Prince Warner Bros. GB inc/US 302 632 934 2 Avatar (1) (2) Fox US/GB 352 547 899 3 Ice Age: Dawn of the Dinosaurs (2) Fox US 197 691 888 4 Transformers: Revenge of the Fallen Paramount US 402 433 835 5 2012 (1) Sony US/CA 163 591 754 6 Up (2) Disney US 293 417 710 7 New Moon (1) Summit US 288 400 688 8 Angels & Demons Sony US 133 352 485 9 The Hangover Warner Bros. US/DE 277 190 467

10 Night at the Museum: Battle of the… Fox US/CA 177 238 415 11 Star Trek Paramount US 258 128 386 12 Monsters vs. Aliens Par- D'Works US 198 183 381 13 X-Men Origins: Wolverine Fox US 180 195 375 14 Terminator Salvation WB-Sony US 125 247 372 15 Fast & Furious Universal US 155 208 363 16 Inglourious Basterds Weinstein-U US/DE 121 199 320 17 The Proposal Disney US 164 153 317 18 A Christmas Carol (1) Disney US 137 174 311 19 G.I. Joe: The Rise of Cobra Paramount US/CZ 150 152 302 20 G.Force Disney US 119 165 284

European Union

Admissions near 1 billion 3D and a generally strong line-up of titles helped

European Union admissions grow by 6%, with an estimated 981.1 million tickets sold in 2009. This represents the highest level since 2004. Rapid growth in the number of 3D screens allowed 3D blockbusters to create strong interest among audiences and rea- lise their full potential, with Ice Age 3, Up and Avatar selling a cumulative 86 million tickets throughout the EU. All three titles made it into the top 5 fi lms of the year. Premium prices for 3D screenings also drove up average ticket prices, generating an esti- mated EU gross box offi ce total of EUR 6.27 billon (USD 8.72 billion), an impressive 12% year-on-year increase and the highest level on record. 2009 was also a year in which the European cinema landscape was more than ever dominated by blockbusters, with the number of fi lms generating more than 5 million admissions increasing from 34 to 42 and market share for the top 100 fi lms increasing from 69% to 75%. Theatrical markets which performed particu- larly well were Germany, up 13.1%, France (+5.7%) and the United Kingdom (+5.6%).

EU production continues to grow

2009 saw EU production levels continue to grow, though at a slower pace, despite a diffi cult eco- nomic environment. The European Audiovisual Observatory estimates that 1 168 feature films were produced within EU member states in 2009, 28 fi lms more than 2008, and a new record high. Overall growth was primarily the result of a strong increase in German fi ction fi lms, growing from 96 fi lm releases in 2008 to 129 in 2009 (+33). Overall, the number of European fi ction fi lms increased from 859 in 2008 to 887 (+28) while the pro duction of theatrical feature documentaries remained stable at 281 productions. Fiction fi lms accounted for an estimated 80% of total European production volume, feature documentaries for around 20%.

With 194 feature fi lms released in 2009, including 65 feature documentaries, Germany became, for the fi rst time in recent history, the country with the highest production output in Europe, followed by former leader France, which saw production levels fall from 196 features to 182.

European fi lms’ share slightly down European fi lms achieved an estimated market

share of 26.7%, down from 28.2% in 2008. Market share for European fi lms produced in Europe with incoming US investment, such as Harry Potter and the Half Blood Prince, decreased slightly from 4.4% to 4.2%. Market share for US fi lms climbed from 65.6% to an estimated 67.1%. The most successful European fi lms without incoming US investment were Slumdog Millionaire, attracting an audience of over 16 million people, followed by Swedish thriller Män som hatar kvinnor (The Girl with the Dragon Tattoo) which sold 6.6 million tickets across the European Union.

EU digital screen base takes off According to fi gures provided by MEDIA Salles

the number of digital screens in the European Union more than tripled in 2009, growing from 1 335 in 2008 to 4 134 digital screens. 3D proved to be the single most important force for digital conver- sion in 2009. On average there were 2.1 digital screens per digital cinema site. With 904 instal- lations, France overtook the UK to become the clear leader with regard to digital roll-out in the EU, followed by the UK (668) and Germany (592). There were 2 723 digital 3D screens operational by year-end, representing 66% of the total EU digital screen space.

Sources: OBS, MEDIA Salles

Information on the number of European digital screens is provided by MEDIA Salles and refers uniquely to digital screens equipped

with DLP Cinema and Sony 4K technology.

Population 2009 e 501.3 million GDP per capita 2009 e 30 609 USD Gross box offi ce 2009 (billion) e 6.27 bn EUR (8.72 bn USD) Admissions 2009 e 981.1 million Average ticket price 2009 e 6.39 EUR (8.89 USD) Average admissions per capita 2009 1.96 Screens 2008 | 2009 29 225 | ~ Screens in multiplexes 2008 | 2009 e 40.9% | ~ Digital screens 2008 | 2009 1 335 | 4 134 3D screens 2008 | 2009 e ~ | 2 723

Market shares 2009 e

US 67.1%

Others 2.0%

European fi lms 26.7%

EUR inc/US 4.2%

European Union

Number of feature fi lms produced in the European Union | 2005-2009 In units.

prov. Country 2005 2006 2007 2008 2009 Sources Austria 100% national fi ction 5 8 4 7 7 OFI

maj. co-prod. fi ction 4 8 2 7 5 OFI min. co-prod. fi ction 3 0 6 3 5 OFI Feature documentaries 18 17 20 13 17 OFI

Belgium e 100% national fi ction 10 11 20 14 13 MFB, OBS maj. co-prod. fi ction 10 14 11 15 15 MFB, OBS min. co-prod. fi ction 20 32 28 30 23 MFB, OBS Feature documentaries 6 12 15 20 23 MFB, OBS

Bulgaria 100% national fi ction 2 4 4 2 8 NFC maj. co-prod. fi ction 1 3 1 3 0 NFC min. co-prod. fi ction 3 3 2 4 3 NFC Feature documentaries 7 5 3 6 0 NFC, OBS

Czech 100% national fi ction 17 28 18 18 21 Min.Cult. Republic maj. co-prod. fi ction 4 1 5 5 8 Min.Cult. min. co-prod. fi ction 6 6 0 4 4 Min.Cult.

Feature documentaries 4 10 7 12 12 Min.Cult.

Denmark 100% national fi ction 11 13 8 13 14 DFI maj. co-prod. fi ction 9 7 9 7 7 DFI min. co-prod. fi ction 4 4 7 6 7 DFI Feature documentaries 7 9 4 4 2 DFI

Estonia 100% national fi ction 6 5 7 3 2 EFSA, OBS maj. co-prod. fi ction 0 3 2 3 1 EFSA, OBS min. co-prod. fi ction 0 2 0 1 3 EFSA, OBS Feature documentaries 2 1 3 6 9 EFSA, OBS

Finland 100% national fi ction 8 12 9 9 12 FFF maj. co-prod. fi ction 3 5 5 4 4 FFF

min. co-prod. fi ction 4 6 3 5 4 FFF Feature documentaries 4 3 4 1 5 FFF

France 100% national 126 127 133 145 137 CNC maj. co-prod. 61 37 52 51 45 CNC

min. co-prod. 53 39 43 44 48 CNC

Germany 100% national fi ction 60 78 77 81 87 SPIO maj. co-prod. fi ction 18 20 16 15 42 SPIO

min. co-prod. fi ction 25 24 29 29 21 SPIO Feature documentaries 43 52 50 60 70 SPIO

Greece e 100% national 21 18 20 25 20 GFC, OBS maj. co-prod. 2 2 0 3 5 GFC, OBS

min. co-prod. 1 2 5 2 0 GFC, OBS Hungary 100 % national 17 37 26 25 22 Min.Cult., AHFD, NFO maj. co-prod. 1 9 2 1 1 Min.Cult., AHFD, NFO

min. co-prod. 8 0 0 4 4 Min.Cult., AHFD, NFO

Ireland 100% national fi ction ~ ~ 5 7 8 IFB maj. co-prod. fi ction ~ ~ 3 6 6 IFB min. co-prod. fi ction ~ ~ 2 12 6 IFB Feature documentaries ~ ~ 13 14 13 IFB

Italy 100 % national 70 90 93 128 101 CCH maj. co-prod. 13 12 16 18 14 CCH

min. co-prod 15 15 14 9 18 CCH

Latvia 100% national fi ction 0 0 5 3 4 NFCL maj. co-prod. fi ction 1 2 0 0 1 NFCL

min. co-prod. fi ction 0 2 1 1 1 NFCL Feature documentaries 1 2 1 3 9 NFCL

Continued overleaf

European Union

Lithuania 100% national fi ction 0 1 2 6 5 Min.Cult., Baltic Films maj. co-prod. fi ction 1 2 0 0 1 Min.Cult., Baltic Films min. co-prod. fi ction 1 0 1 1 0 Min.Cult., Baltic Films

Luxembourg 100% national fi ction 1 0 0 0 1 LFF maj. co-prod. fi ction 1 3 2 0 4 LFF

min. co-prod. fi ction 11 9 2 11 12 LFF Feature documentaries 0 2 4 2 1 LFF

The 100% national fi ction 23 16 27 22 27 NFF, NVF, OBS Netherlands maj. co-prod. fi ction 5 6 4 6 5 NFF, NVF, OBS e min. co-prod. fi ction 3 8 8 18 6 NFF, NVF, OBS

Feature documentaries 20 17 10 17 14 NFF, NVF, OBS

Poland 100% national fi ction 19 23 30 28 31 PISF, Min.Cult., OBS maj. co-prod. fi ction 2 1 4 4 7 PISF, Min.Cult., OBS min. co-prod. fi ction 2 2 5 8 4 PISF, Min.Cult., OBS

Feature documentaries 0 1 1 5 0 PISF, Min.Cult., OBS

Portugal 100% national fi ction 8 3 8 7 9 ICA maj. co-prod. fi ction 3 11 4 6 3 ICA

min. co-prod. fi ction 4 7 0 1 2 ICA Feature documentaries 8 13 3 2 9 ICA

Romania 100% national fi ction 9 14 9 7 11 CNC maj. co-prod. fi ction 2 1 0 2 3 CNC min. co-prod. fi ction 9 3 3 2 4 CNC

Feature documentaries 0 0 2 2 1 CNC, OBS

Slovakia 100% national fi ction 1 0 3 1 1 SKFI maj. co-prod. fi ction 1 0 2 3 5 SKFI min. co-prod. fi ction 4 2 3 3 7 SKFI

Feature documentaries 2 1 2 5 5 SKFI

Slovenia 100% national fi ction 6 1 4 9 3 FSRS maj. co-prod. fi ction 1 0 4 0 0 FSRS min. co-prod. fi ction 2 3 3 3 1 FSRS

Feature documentaries 1 0 2 3 2 FSRS

Spain 100 % national 89 109 115 124 135 ICAA maj. co-prod. 29 23 26 26 22 ICAA

min. co-prod. 24 18 31 23 29 ICAA

Sweden 100% national fi ction 27 29 15 8 ~ SFI, OBS maj. co-prod. fi ction 15 12 10 13 ~ SFI, OBS min. co-prod. fi ction 8 2 7 1 ~ SFI, OBS

Feature documentaries 3 3 5 14 ~ SFI, OBS

United 100 % national 51 55 70 77 71 UKFC, OBS Kingdom maj. co-prod. 12 18 15 10 5 UKFC, OBS

min. co-prod. 53 33 13 12 17 UKFC, OBS Inward feature (1) 48 28 26 18 23 UKFC, OBS

Total fi ction fi lms EU 27 e (2) 714 822 808 859 887 OBS Total feat. documentaries EU 27 e (3) 197 221 236 281 281 OBS Total feature fi lms EU 27 e 911 1 043 1 044 1 140 1 168 OBS

prov. Country 2005 2006 2007 2008 2009 Sources

Number of feature fi lms produced in the European Union | 2005-2009 In units.

Continued

(1) Excluding inward features involving only VFX work in the UK.

(2) May include feature documentaries in GR, HU.

(3) May double count minority co-produced feature documentaries. No detailed data for feature documentaries available for ES, IT, GR, HU, LT, RO.

European Union

prov. Country 2005 2006 2007 2008 2009 2009/08 Sources Austria 15.7 17.3 15.7 15.6 18.4 17.8% FAFO

Belgium e 22.1 23.9 22.7 21.9 22.6 2.9% INS, SGA (2009)

Bulgaria 2.4 2.4 2.5 2.8 3.2 12.2% National Film Center

Cyprus 0.8 0.8 0.9 0.9 0.9 3.9% Min. Ed. Cult., Media Salles

Czech Republic 9.5 11.5 12.8 12.9 12.5 -3.3% Ministry of Culture, UFD

Denmark 12.2 12.6 12.1 13.2 13.9 5.2% DFI, Statistics Denmark

Estonia 1.1 1.6 1.6 1.6 1.8 9.2% Estonian Film Foundation

Finland 6.1 6.7 6.5 6.9 6.7 -2.4% Finnish Film Foundation

France 175.5 188.8 177.9 190.1 200.9 5.7% CNC

Germany 127.3 136.7 125.4 129.4 146.3 13.1% FFA

Greece 12.7 12.8 13.8 11.8 12.3 3.9% Media Salles

Hungary 12.1 11.7 11.1 10.4 10.6 2.4% National Film Offi ce

Ireland 16.4 17.9 18.4 18.2 17.7 -3.2% Carlton Screen Advertising, Nielsen EDI

Italy e 105.6 106.1 116.4 111.6 111.2 -0.4% CCH, Cinetel, OBS

Latvia 1.7 2.1 2.4 2.4 1.9 -17.4% National Film Centre

Lithuania 1.2 2.4 3.2 3.3 3.4 3.2% Baltic Films

Luxembourg e 1.2 1.3 1.2 1.1 1.2 4.0% CNA, Media Salles

Malta e 1.0 0.9 1.0 1.0 1.0 1.0% MFC, Media Salles

Poland 23.6 32.0 32.6 33.8 39.2 16.1% boxoffi ce.pl

Portugal 15.8 16.4 16.3 16.0 15.7 -1.7% Instituto do Cinema e do Audiovisual

Romania 2.8 2.8 2.9 3.8 5.3 39.0% Centrul National al Cinematografi ei

Slovakia 2.2 3.4 2.8 3.4 4.1 23.3% Slovak Film Institute

Slovenia 2.4 2.7 2.4 2.4 2.8 15.5% Slovenian Film Fund

Spain 127.7 121.7 116.9 107.8 109.5 1.5% ICAA, OBS

Sweden 14.6 15.3 14.9 15.3 17.4 13.5% Swedish Film Institute

The Netherlands 20.6 23.4 23.1 23.5 27.3 16.0% MaccsBox - NVB & NVF

United Kingdom 164.7 156.6 162.4 164.2 173.5 5.6% Cinema Advertising Association, Nielsen EDI

EU 27 e 898.9 931.6 920.0 925.3 981.1 6.0% European Audiovisual Observatory

Admissions in the European Union | 2005-2009 In millions.

Source: OBS

European Union

Admissions in the European Union | 2005-2009 In millions.

Source: OBS

Poland The Netherlands Belgium

France

Denmark

Finland

Romania

Slovakia

United Kingdom

Germany

Italy Spain

Czech Republic Greece Hungary

Lithuania Bulgaria Slovenia

Luxembourg Malta Cyprus

Latvia Estonia

Austria Ireland Sweden Portugal

European Union

Note: ‘inc’ refers to fi lms produced in Europe with incoming investment from the US. Sources: OBS, LUMIERE

Note: Based on Top 250 fi lms in United States of America and Canada. ‘Inc’ refers to fi lms produced in Europe with US incoming investment. Sources: Variety, OBS

Breakdown of European Union admissions by the origin of fi lms | 2009 prov.

Admissions to European Union fi lms on the North American market | 2009 e

Estimated admissions in the United States and Canada based on an average ticket price of USD 7.50.

Other Eur 5.1%

US 65.8%

GB inc 43.5%

Other 0.7%

GB 3

.9 %

IT 3.0%

ES 1.9%

Rest of W orld 2.0%

U S/

EU R

in c

1. 2%

EU R

in c/

U S

4. 2%

FR 8.7%

GB 28.3%

FR 21.8%

ES 5.7%

DE 4.1%

Total US + US/EUR inc

67.1%

Total EUR excl.incoming

investment fi lms 26.7%

97.2 million admissions

to European Union fi lms

6.8% market share of total Top 250 fi lms

European Union

The tables below are provisional rankings on the basis of data from 22 European Union member states – around 89% of total admissions in the European Union are analysed.

(1) 221 173 admissions in EU in 2008. (2) 2 843 389 admissions in EU in 2008. (3) 5 873 616 admissions in EU in 2008. Sources: OBS, LUMIERE

(1) 221 173 admissions in EU in 2008. Note: ‘inc’ refers to fi lms produced in Europe with incoming investment from the US. Sources: OBS, LUMIERE

Top 25 fi lms by admissions in the European Union | 2009

Top 25 European Union fi lms by admissions in the European Union | 2009

Original title Country of origin Year Director Admissions

1 Ice Age: Dawn of the Dinosaurs US 2009 C. Saldanha, M. Thurmeier 40 223 466 2 Harry Potter and the Half-Blood Prince GB inc/US 2008 David Yates 33 868 313 3 Up US 2009 Pete Docter, Bob Peterson 23 652 729 4 Avatar US/GB 2009 James Cameron 22 484 740 5 New Moon US 2009 Chris Weitz 22 378 521 6 2012 US/CA 2009 Roland Emmerich 21 554 739 7 Angels & Demons US 2009 Ron Howard 21 108 692 8 Slumdog Millionaire (1) GB 2008 D. Boyle, L. Tandan 16 004 477 9 Inglourious Basterds US/DE 2009 Quentin Tarantino 14 134 503 10 Transformers: Revenge of the Fallen US 2009 Michael Bay 13 781 084 11 The Hangover US/DE 2009 Todd Phillips 12 882 962 12 The Curious Case of Benjamin Button US 2008 David Fincher 12 389 590 13 Night at the Museum: Battle of the Smithsonian US/CA 2009 Shawn Levy 11 586 601 14 Monsters vs. Aliens US 2009 R. Letterman, C. Vernon 10 799 827 15 Fast & Furious 4 US 2009 Justin Lin 10 793 039 16 Bolt (2) US 2008 B. Howard, C. Williams 10 206 785 17 Gran Torino US/AU 2008 Clint Eastwood 9 881 882 18 G-Force US 2009 Hoyt Yeatman 9 408 476 19 X-Men Origins: Wolverine US 2009 Gavin Hood 9 232 078 20 The Proposal US 2009 Anne Fletcher 9 133 874 21 Terminator Salvation US 2009 McG 9 077 827 22 A Christmas Carol US 2009 Robert Zemeckis 8 734 798 23 This Is It US 2009 Kenny Ortega 7 625 990 24 Twilight (3) US 2008 Catherine Hardwicke 7 526 582 25 Seven Pounds US 2008 Gabriele Muccino 7 236 669

Original title Country of origin Year Director Admissions

1 Harry Potter and the Half-Blood Prince GB inc/US 2008 David Yates 33 868 313 2 Slumdog Millionaire (1) GB 2008 D. Boyle, L. Tandan 16 004 477 3 Män som hatar… (The Girl with the Dragon Tattoo) SE/DK/DE 2009 Niels Arden Oplev 6 556 631 4 Le petit Nicolas FR/BE 2009 Laurent Tirard 5 876 649 5 Wickie und die starken Männer DE 2009 Michael Herbig 5 687 255 6 Arthur et la vengeance de Maltazard FR 2009 Luc Besson 4 081 302 7 LOL (Laughing Out Loud) FR 2008 Lisa Azuelos 3 929 125 8 Zweiohrküken DE 2009 Til Schweiger 3 600 871 9 Agora ES 2009 Alejandro Amenábar 3 366 916 10 Los abrazos rotos ES 2009 Pedro Almodóvar 3 269 603 11 Planet 51 ES/GB/US 2009 Jorge Blanco, Javier Abad 3 258 992 12 Coco FR 2009 Gad Elmaleh 3 109 677 13 Coco avant Chanel FR 2009 Anne Fontaine 3 043 643 14 Flickan som lekte med elden SE/DK/DE 2009 Daniel Alfredson 2 884 593 15 OSS 117: Rio ne répond plus FR 2009 Michel Hazanavicius 2 652 940 16 Natale a Beverly Hills IT/US 2009 Neri Parenti 2 552 835 17 The Boat That Rocked GB/DE/US/FR 2009 Richard Curtis 2 512 101 18 Neuilly sa mère ! FR 2009 Gabriel Laferrière 2 495 607 19 The Imaginarium of Doctor Parnassus GB/CA/FR 2009 Terry Gilliam 2 441 022 20 Die Päpstin DE/GB/IT/ES 2009 Sönke Wortmann 2 339 213 21 Männerherzen DE 2009 Simon Verhoeven 2 094 192 22 Cado dalle nubi IT 2009 Gennaro Nunziante 2 078 499 23 Safari FR 2009 Olivier Baroux 2 023 353 24 Italians IT 2009 Giovanni Veronesi 1 988 535 25 De l'autre côté du lit FR 2009 Pascale Pouzadoux 1 949 029

European Union

Source: MEDIA Salles

Number of digital 3D screens in the European Union by country | December 2009

Number of digital screens in the European Union by country | December 2009

Source: MEDIA Salles

France

(1) Offi cially recognised fi lms.

Number of feature fi lms produced | 2005-2009

(1) Officially recognised films

Source: CNC

Population 2009 e 64.7 million GDP per capita 2009 e 39 922 USD Gross box offi ce 2009 (billion) 1.23 bn EUR (1.71 bn USD) Admissions 2009 200.9 million Average ticket price 2009 6.14 EUR (8.53 USD) Average admissions per capita 2009 3.11 Screens 2008 | 2009 5 418 | 5 522 Screens in multiplexes 2008 | 2009 e 34.6% | ~ Digital screens 2008 | 2009 253 | 904 3D screens 2008 | 2009 ~ | 477

Admissions and gross box offi ce | 2005-2009

Source: CNC

Market shares 2009 e

Total (1)

100% national

Min. co-prod. Maj. co-prod.

Admissions (millions)

Gross box offi ce (EUR million)

Others 63.2%

National 36.8%

France

Top 20 fi lms by admissions in France | 2009

Original title Country of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 7 821 650 2 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 6 096 446 3 Avatar US/GB James Cameron 20th Century Fox 5 573 683 4 Le petit Nicolas FR/BE Laurent Tirard Wild Bunch Distrib. 5 462 264 5 2012 US/CA Roland Emmerich Sony Pict. Releasing 4 608 851 6 Up US P. Docter, B. Peterson Walt Disney Studios 4 471 647 7 New Moon US Chris Weitz SND Films 4 117 983 8 LOL (Laughing Out Loud) FR Lisa Azuelos Pathé Distribution 3 649 758 9 Gran Torino US/AU Clint Eastwood Warner Bros. 3 448 009

10 Arthur et la vengeance de Maltazard FR Luc Besson EuropaCorp 3 346 900 11 Coco FR Gad Elmaleh StudioCanal 3 008 677 12 Bolt US Howard, Williams Walt Disney Studios 2 939 074 13 Inglourious Basterds US/DE Quentin Tarantino UIP 2 834 807 14 Twilight US Catherine Hardwicke SND Films 2 798 966 15 Slumdog Millionaire GB D. Boyle, L. Tandan Pathé Distribution 2 694 389 16 The Curious Case of Benjamin Button US David Fincher Warner Bros. 2 606 052 17 OSS 117: Rio ne répond plus FR Michel Hazanavicius Gaumont Distrib. 2 560 290 18 Neuilly sa mère ! FR Gabriel Laferrière UGC Distribution 2 452 007 19 Transformers: Revenge of the Fallen US Michael Bay Paramount Pictures 2 252 691 20 Angels & Demons US Ron Howard Sony Pict. Releasing 2 042 698

Source: Le fi lm français

Distribution and Exhibition 2009 saw French admissions increase to 200 mil-

lion tickets sold, up 5.7% year-on-year and the highest level since 1982. GBO climbed by 8% to EUR 1.2 billion (USD 1.7 billion). However, it was primarily the big, and to a lesser extent, the mid-sized theatre chains benefi tting from this box offi ce growth, while smaller cinemas faced fl at rev- enues, hinting at a growing gap within the coun- try’s exhibition industry. After an exceptional year for French fi lms in 2008, national market share dropped from 45.3% to 36.8%, with admissions to local fi lms falling by 13.5%. US fi lms, on the other hand, registered an annual growth of 21.8% to reach 100 million tickets sold,taking 49.7% of the market. As in most countries, 3D blockbusters were a driving force not only for box offi ce growth but for the accele ration of digital cinema roll-out. Digital screens increased from only 253 to 904 deployed entities (477 3D screens) by the end of the year, making France the clear leader in Europe. After the French Competition Authority’s opinion according to which the CNC’s proposed mutual fund scheme to support the digitisation àprocess unduly distorted competition, the CNC is currently developing an alternative scheme to offer public support primarily targeting screens in circuits of less than 50 screens. The CNC aims

to make its scheme operational in the second half of the year. As part of the fi ght against copyright infringements the ‘HADOPI 2’ Act came into force in October 2009, foreseeing the suspension of internet access for unlawful downloading when imposed by a judge. In the same context, release windows, which are overseen by the government and the industry in France, were reduced in 2009, bringing VOD in line with DVD (4 months after theatrical release) as well as reducing windows for Pay-TV (12 months) and free-to-air broad- casters (22 months).

Production and Funding French film production peaked off from

its previous year’s record high, with 230 fi lms receiving official recognition, 10 less than in 2008. Average production costs decreased from EUR 6.4 million to EUR 5.1 million and the total value of French initative production fell below the 1 billion benchmark to EUR 928 million, down 26.3% from 2008. France hopes to attract more foreign productions with a new 20% tax rebate on local spend, capped at EUR 4 million per project, which became effective in December 2009.

Sources: CNC, Le fi lm français, Screen International, Variety, OBS

Germany

Population 2009 e 81.9 million GDP per capita 2009 e 37 307 USD Gross box offi ce 2009 (million) 976.1 M EUR (1 357 M USD) Admissions 2009 146.3 million Average ticket price 2009 6.67 EUR (9.28 USD) Average admissions per capita 2009 1.79 Screens 2008 | 2009 4 810 | 4 734 Screens in multiplexes 2008 | 2009 27.1% | ~ Digital screens 2008 | 2009 162 | 592 Digital 3D screens 2008 | 2009 ~ | 369

Admissions and gross box offi ce | 2005-2009

Source: FFA

Number of national feature fi lms released | 2005-2009

Source: SPIO

Market shares 2009

Others 72.6%

National 27.4%

Total

100% national

Gross box offi ce (EUR million)

Admissions (millions)

Majority co-productions Minority co-productions

Germany

Top 20 fi lms by admissions in Germany | 2009

Original title Country of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 8 705 891 2 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 6 128 515 3 Wickie und die starken Männer DE Michael Herbig Constantin Film 4 891 161 4 Angels & Demons US Ron Howard Sony Pict. Releasing 4 584 368 5 Avatar US/GB James Cameron 20th Century Fox 3 379 380 6 Zweiohrküken DE Til Schweiger Warner Bros. 3 340 379 7 New Moon US Chris Weitz Concorde Filmverleih 3 299 499 8 2012 US/CA Roland Emmerich Sony Pict. Releasing 3 224 981 9 Up US Docter, Peterson Walt Disney Studios 2 946 831

10 Twilight US Catherine Hardwicke Concorde Filmverleih 2 777 690 11 Night at the Museum: Battle of… US/CA Shawn Levy 20th Century Fox 2 369 843 12 Die Päpstin DE/GB/IT/ES Sönke Wortmann Constantin Film 2 339 213 13 The Reader US/DE Stephen Daldry Senator Film Verleih 2 187 327 14 The Hangover US/DE Todd Phillips Warner Bros. 2 136 313 15 Inglourious Basterds US/DE Quentin Tarantino Universal Pictures 2 104 523 16 Männerherzen DE Simon Verhoeven Warner Bros. 2 094 192 17 The Curious Case of Benjamin Button US David Fincher Warner Bros. 2 080 378 18 Slumdog Millionaire GB D. Boyle, L. Tandan Prokino Filmverleih 2 068 485 19 The Proposal US Anne Fletcher Walt Disney Studios 2 012 307 20 Transformers: Revenge of the Fallen US Michael Bay Paramount 1 906 345

Source: FFA

Production and Funding German production activity, measured in

terms of fi lm releases, reached the highest level in recent years with a total of 220 German feature fi lms released in 2009, up 35 fi lms from 2008. International co-productions signifi cantly con- tributed to this increase with 78 co-productions being released, 20 more than in 2008 and the highest number on record. 2009 proved to be a diffi cult year for public funding however, with the German Administrative Court ruling in early 2009 that the current cinema levy used to fi nance the German Federal Film Board (FFA) was uncon- stitutional and the case being referred to the Federal Constitutional Court for a fi nal decision yet to be taken at the time of writing. This cre- ated a fair amount of uncertainty with regard to the future of German fi lm funding and will prob- ably affect local fi lm production activity in 2009 and 2010. In order to bring the action to an end, the Federal Cabinet agreed on a new fi lm funding law in early 2010 which foresees statu- tory contributions to the FFA by public and pri- vate broadcasters, which, unlike exhibitors and the video industry, until now had been able to negotiate their contributions. The government is aiming to have the revised legislation come into force before the 2010 summer recess. Meanwhile, the German Federal Film Fund (DFFF) has been

extended with slight modifi cations for another three year period until 2012. Between 2007 and 2009 the DFFF has supported 302 projects with a total of EUR 178.1 million.

Distribution and Exhibition 2009 proved to be an excellent year for the

German theatrical market with 3D blockbusters and national fi lms driving admissions to grow by 13% to 146.3 million tickets sold, the best result in the past fi ve years. Boosted by increasing average ticket prices, primarily due to premium prices for 3D screenings, GBO even rose by 22.8% to EUR 976 million (USD 1.4 billion). National fi lms reached an all-time record market share of 27.4%, attracting 39.9 million admissions, the highest level on record. Germany’s screen base continued to shrink despite increasing box offi ce takings however, with screens falling to 4 734, down 76 from 2008, and the number of towns offering a local cinema falling below the 1 000 benchmark for the fi rst time. This trend could continue, as the industry failed to agree on an all-industry solution for a nationwide digital roll-out, leaving many smaller cinemas, unable to fi nance the transition on their own, at risk.

Sources: FFA, SPIO, Blickpunkt Film, Screen International, OBS

Italy

Population 2009 e 59.8 million GDP per capita 2009 e 33 253 USD Gross box offi ce 2009 (million) 676.1 M EUR (940.1 M USD) Admissions 2009 111.2 million Average ticket price 2009 6.08 EUR (8.46 USD) Average admissions per capita 2009 1.86 Screens 2008 | 2009 3 141 | 3 208 Screens in multiplexes 2008 | 2009 e 1 184 | ~ Digital screens 2008 | 2009 80 | 428 Digital 3D screens 2008 | 2009 ~ | 392

Number of feature fi lms produced in Italy | 2005-2009

Source: CCH

Total

100% national

Admissions and gross box offi ce | 2005-2009 e

Sources: OBS, ANICA, Cinetel, SIAE, CCH

Gross box offi ce (EUR million)

Admissions (millions)

Market shares 2009 e

Others 75.6%

National 24.4%

Minority co-productions Majority co-productions

Italy

Top 20 fi lms by admissions in Italy | 2009

Original title Country of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 4 054 481 2 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 2 994 664 3 Angels & Demons US Ron Howard Sony Pictures 2 988 759 4 New Moon US Chris Weitz Eagle Pictures 2 554 730 5 Natale a Beverly Hills IT/US Neri Parenti Filmauro 2 552 835 6 2012 US/CA Roland Emmerich Sony Pictures 2 246 384 7 Cado dalle nubi IT Gennaro Nunziante Medusa Film 2 078 499 8 Italians IT Giovanni Veronesi Filmauro 1 988 535 9 Up US P. Docter, B. Peterson Walt Disney 1 957 829

10 Seven Pounds US Gabriele Muccino Sony Pictures 1 824 887 11 Baarìa IT/FR Giuseppe Tornatore Medusa Film 1 802 652 12 The Curious Case of Benjamin Button US David Fincher Warner Bros. 1 789 250 13 Ex IT/FR Fausto Brizzi 01 Distribution 1 766 991 14 Gran Torino US/AU Clint Eastwood Warner Bros. 1 524 314 15 Inglourious Basterds US/DE Quentin Tarantino Universal 1 507 738 16 Io e Marilyn IT Leonardo Pieraccioni Medusa Film 1 358 691 17 Transformers: Revenge of the Fallen US Michael Bay Universal 1 333 991 18 Fast & Furious 4 US Justin Lin Universal 1 313 891 19 La matassa IT G. Avellino, Ficarra Medusa Film 1 297 815 20 Yes Man US/AU Peyton Reed Warner Bros. 1 286 564

Source: Cinetel

Distribution and Exhibition While Italian admissions remained fairly stable

with an estimated 11.2 million tickets sold, premium priced 3D tickets helped local box offi ce to grow 4.9% to an estimated EUR 676 million (USD 940 million). Box office was driven by US blockbusters, particularly 3D titles, while local fi lms struggled, seeing their market share drop to an estimated 24%, down from 28% in 2008. As in most European countries, the 3D boom was made possible by a signifi cant increase in 3D screens, jumping from 40 in January 2009 to 416 in January 2010: 3D becoming the major growth driver for digital roll-out. In order to pro- mote further digitisation of its screen base, Italy plans to introduce a tax incentive scheme for digital projection offering exhibitors a 30% tax credit for their conversion costs. Bigger cinemas would have to fulfi l programming requirements, showing cultural fi lms for 50% of the screenings, and to convert at least 50% of their screens in order to benefi t from the scheme which is cur- rently under formal investigation by the European Commission. In order to fi ght piracy estimated to have caused damage amounting to EUR 530 mil- lion in 2009, the Italian Audiovisual Anti-Piracy Federation (FAPAV) launched a landmark case against Telecom Italia earlier this year, suing the latter for damages resulting from failing to stop its clients from illegal downloading.

Production and Funding The resurgence in Italian production activity

came to an abrupt halt in 2009, with the total number of fi lm productions dropping from 155 in 2008 to 133. The cutback in production activity was entirely caused by a sharp decrease in the production of 100% national fi lms, falling from 128 to 101. Co-productions slightly increased from 27 to 32, driven by a doubling of minority co-productions (18), while Italian majority co- productions declined to 14. Producers blamed the lack of available government funding as one of the major reasons for this downturn. According to fi gures from fi lm industry association ANICA public funds almost halved in 2009, plunging from EUR 55 million in 2008 to EUR 29 million, repre- senting a mere 10% of total production invest- ment, compared to what used to be about 50% just fi ve years ago. The new EUR 104 million tax shelter and tax credit scheme announced in 2008 became effective in May 2009 and will run until December 2010. The scheme was recently comple- mented by another EUR 82 million tax incentive scheme for fi lm investment and distribution.

Sources: ANICA, DG Cinema, Variety, Screen International, OBS

Spain

Population 2009 e 46.1 million GDP per capita 2009 e 30 251 USD Gross box offi ce 2009 (million) 667.8 M EUR (928.5 M USD) Admissions 2009 109.5 million Average ticket price 2009 6.10 EUR (8.48 USD) Average admissions per capita 2009 2.38 Screens 2008 | 2009 4 140 | 4 083 Screens in multiplexes 2008 | 2009 e 64.6% | ~ Digital screens 2008 | 2009 e 50 | 238 Digital 3D screens 2008 | 2009 ~ | 195

Market shares 2009 e

Admissions and gross box offi ce | 2005-2009

Source: ICAA

Number of feature fi lms produced | 2005-2009

Source: ICAA

Gross box offi ce (EUR million)

Admissions (millions)

Total

100% national

Min. co-prod. Maj. co-prod.

National 16.0%

US 84.0%

Spain

Top 20 fi lms by admissions in Spain | 2009

Original title Country of origin Director Distributor Admissions

1 Up US P. Docter, B. Peterson Walt Disney 3 726 039 2 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Hispano Fox Film 3 331 654 3 Agora ES Alejandro Amenábar Hispano Fox Film 3 318 399 4 New Moon US Chris Weitz Aurum Producc. 3 088 254 5 Avatar US/GB James Cameron Hispano Fox Film 3 057 717 6 Angels & Demons US Ron Howard Sony Pictures 2 614 057 7 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 2 393 080 8 2012 US/CA Roland Emmerich Sony Pictures 2 311 585 9 Gran Torino US/AU Clint Eastwood Warner Bros. 2 094 875

10 The Curious Case of Benjamin Button US David Fincher Warner Bros. 2 027 137 11 Inglourious Basterds US/DE Quentin Tarantino UPI 1 784 366 12 Slumdog Millionaire GB D. Boyle, L. Tandan SOGEDA 1 738 874 13 Seven Pounds US Gabriele Muccino Sony Pictures 1 661 961 14 Planet 51 ES/GB/US J. Blanco, J. Abad DeA Planeta 1 643 634 15 Män som hatar kvinnor SE/DK/DE Niels Arden Oplev Vertigo Films 1 555 356 16 Monsters vs. Aliens US Letterman, Vernon Paramount 1 467 126 17 Celda 211 ES/FR Daniel Monzón Paramount 1 400 422 18 X-Men Origins: Wolverine US Gavin Hood Hispano Fox Film 1 386 563 19 Australia AU/US Baz Luhrmann Hispano Fox Film 1 251 395 20 G-Force US Hoyt Yeatman Walt Disney 1 251 096

Source: ICAA

Distribution and Exhibition 2009 fi nally put a halt to Spain’s downward

trend in admissions, as attendance increased slightly by 1.5% to 109.5 million tickets sold. This was still the second lowest level since 1997. Boosted by an increasing average ticket price, GBO, however, saw a strong increase to EUR 668 million (USD 929 million), up 7.8% year-on-year and the second best result in history. Box offi ce growth was driven by 3D blockbusters as well as local fi lms. Led by Agora Spanish fi lms generated 22% more admissions than in 2008, taking 15% of the total market. Admissions to US and European fi lms remained fl at while fi lms from other parts of the world showed a down- ward trend. This tendency could possibly change with new funding rules making European and Latin American fi lms eligible for distribution sub- sidies, formerly only available to fi lms qualifying as Spanish. 3D also drove digital cinema with digital screens climbing from 50 digital screens in 2008 to 238 by year end, while the overall screen base continued to decrease to 4 083 screens. 195 3D screens were operational by end 2009. A new anti-piracy bill has been submitted to the national parliament allowing the federal court to close or block websites streaming or offering unauthorized downloads of film and music content. Complaints would be channelled through an intellectual property commission to be set up at the Ministry of Culture.

Production and Funding Production levels reached a new record high

with a total of 186 Spanish feature films pro- duced in 2009, up 13 from 2008. While co-pro- ductions remained fairly stable, the production of 100% national fi lms continued its ongoing growth trend, up by 11 productions to a total of 135 feature films. The Spanish production landscape is currently facing changes in its fi lm fi nancing and funding structures. On the one hand, ICAA, the national fi lm agency, is increasing state support for individual fi lms and distribution, aiming to stimulate the development of higher- quality projects by binding a signifi cant amount of funds to a fi lm’s commercial success. On the other hand, mandatory production quotas for private TV broadcasters, which used to be a sig- nifi cant source of fi nancing, have recently been cut from 5% to 3% of their annual revenues and have to be spread among several projects. With falling TV revenues along with decreasing prices for TV rights, this development could make it more diffi cult for large scale projects to complete their fi nancing.

Sources: ICAA, Screen International, Variety, OBS

United Kingdom

Population 2009 e 61.2 million GDP per capita 2009 e 32 798 USD Gross box offi ce 2009 (million) 944 M GBP (1 472 M USD) Admissions 2009 173.5 million Average ticket price 2009 5.44 GBP (8.49 USD) Average admissions per capita 2009 2.83 Screens 2008 | 2009 3 661 | 3 696 Screens in multiplexes 2008 | 2009 64.6% | ~ Digital screens 2008 | 2009 303 | 668 Digital 3D screens 2008 | 2009 ~ | 473

Market shares 2009

Admissions and gross box offi ce | 2005-2009

Sources: Digital Cinema Media, CAA, Nielsen EDI

Number of fi lms produced in the United Kingdom | 2005-2009

Sources: UK Film Council, OBS

Others 83.5%

Total

100 % national

Inward feature (1)

Minority co-productions Majority co-productions

Admissions (millions)

Gross box offi ce (GBP million)

National 16.5%

(1) Including Inward Feature Co-productions but excluding inward features involving only VFX work in the UK.

United Kingdom

Top 20 fi lms by gross box offi ce in the United Kingdom & Ireland | 2009

Original title Country of origin Director

Gross box offi ce Distributor (in GBP)

1 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner 50 723 508 2 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 35 022 205 3 Up US PDocter, Peterson Walt Disney 34 395 456 4 Avatar US/GB James Cameron 20th Century Fox 32 815 618 5 Slumdog Millionaire GB D. Boyle, L. Tandan Pathe Distribution 31 664 346 6 Transformers: Revenge of the Fallen US Michael Bay Paramount 26 940 924 7 New Moon US Chris Weitz E1 Entertainment 26 888 092 8 The Hangover US/DE Todd Phillips Warner 22 121 062 9 Monsters vs. Aliens US Letterman, Vernon Paramount 21 297 434

10 Star Trek US J.J. Abrams Paramount 21 223 959 11 A Christmas Carol US Robert Zemeckis Walt Disney 20 107 127 12 Night at the Museum: Battle of the… US/CA Shawn Levy 20th Century Fox 20 031 705 13 2012 US/CA Roland Emmerich Sony Pictures Int. 19 460 639 14 Angels & Demons US Ron Howard Sony Pictures Int. 18 582 023 15 Bolt US Howard, Williams Walt Disney 17 937 595 16 X-Men Origins: Wolverine US Gavin Hood 20th Century Fox 16 275 324 17 Brüno US Larry Charles Universal Pictures 15 662 792 18 Marley & Me US David Frankel 20th Century Fox 15 251 996 19 Terminator Salvation US McG Sony Pictures Int. 14 205 059 20 Fast & Furious 4 US Justin Lin Universal Pictures 13 578 749

Sources: UK Film Council, Nielsen EDI

Production and Funding Feature fi lm production output remained stable

in 2009 while UK production spend reached a record of GBP 957 million (USD 1.5 billion), due to a surge in inward investment (GBP 753 mil- lion) from US studios, encouraged by a favour- able exchange rate, the UK fi lm tax relief and the end of the writers’ strike in the US: The indepen- dent UK production sector, however, remained under pressure with median budgets of domestic fi lms falling to GBP 1.5 million and production levels continuing their downward trend. Including co-productions the number of UK independent fi lms with budgets of over GBP 500 000 fell from 163 in 2003 to 94 in 2009, refl ecting a tougher economic environment for independent produc- tions and changes in the tax relief system now exclusively focusing on UK spend. Reacting to signifi cant cuts in its budget, the UKFC undertook a major re-organisation of its operations aiming to cut its overheads by 20%, e.g. by merging its former Premiere, New Cinema and Development funds into one single GBP 15 million (USD 23 mil- lion) production fund: the Film Fund, which became operational in April 2010 and will focus on creative excellence and put more emphasis on fi rst- and second-time fi lmmakers. In parallel, merger discussions between the UKFC and the British Film Institute continue.

Distribution and Exhibition US blockbusters helped UK cinema admissions

to grow by 5.6% to 173.5 million, the second highest level since 1971. GBO even increased by 11% to reach GBP 944 million (USD 1.5 billion), the highest level on record. Led by three 3D hits, Avatar, Ice Age 3 and Up, US fi lms accounted for about 81% of the box office, significantly up from 65% in 2008. Market share for UK fi lms, including inward investment fi lms fi nanced by US studios, dropped dramatically from 31% in 2008 to 16.5%, illustrating dependency on a small number of high-grossing titles. UK inde- pendent fi lms took 8.5% of total box offi ce, cele- brating their best result of the last decade. 3D also boosted growth in digital screens as the number increased by 365 to a total of 668 digital screens. In order to help smaller cinema negotiate fi nan- cial support in the form of VPFs to digitise their screens, the CEA formed the UK Digital Funding Group which became a separate legal entity in January 2010 and represents some 500 indepen- dent screens at present.

Sources: UK Film Council (UKFC), Digital Cinema Media, Screen International, Cinema Exhibitors

Association (CEA)

Russian Federation

Population 2009 e 141.4 million GDP per capita 2009 e 8 230 USD Gross box offi ce 2009 (million) 23 406 M RUB (735.7 M USD) Admissions 2009 138.5 million Average ticket price 2009 169 RUB (5.31 USD) Average admissions per capita 2009 0.98 Screens 2008 | 2009 1 886 | 2 102 Screens in multiplexes 2008 | 2009 ~ | ~ Digital screens 2008 | 2009 90 | 352 Digital 3D screens 2008 | 2009 89 | 346

Admissions and gross box offi ce | 2005-2009

Source: Russian Film Business Today

Number of Russian fi lms on fi rst release | 2005-2009

Source: Russian Film Business Today

Market shares 2009

Others 76.1%

National 23.9%

National fi lms

Gross box offi ce (USD million)

Admissions (millions)

Russian Federation

Top 20 fi lms by admissions in the Russian Federation & CIS (1) | 2009 e

Estimated admissions based on average ticket price of 5.31 USD.

Original title Country of origin Director Distributor Admissions e

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 8 418 736 2 2012 (2) US/CA Roland Emmerich BVSPR 6 898 604 3 Obitaemyy ostrov (The Inhabited…) RU Fyodor Bondarchuk Caroprokat 4 120 396 4 Harry Potter and the Half-Blood Prince GB inc/US David Yates Caro Premier 3 538 415 5 New Moon (2) US Chris Weitz West 3 509 434 6 Transformers: Revenge of the Fallen US Michael Bay Central Partnership 3 428 472 7 Lubov morkov 2 (Lovey-Dovey 2) RU Maksim Pezhemsky Caroprokat 3 368 057 8 Kanikuly strogogo rezhima RU Igor Zaytsev 20th Century Fox 3 314 340 9 Taras Bulba RU Vladimir Bortko Central Partnership 3 215 245

10 Stilyagi (Hipsters) RU Valeriy Todorovskiy Central Partnership 3 171 774 11 Terminator Salvation US McG BVSPR 2 737 283 12 Fast & Furious 4 US Justin Lin UPI 2 699 302 13 The Final Destination US David R. Ellis Caro Premier 2 671 208 14 Angels & Demons US Ron Howard BVSPR 2 565 698 15 Monsters vs. Aliens US Letterman, Vernon Central Partnership 2 551 660 16 A Christmas Carol (2) US Robert Zemeckis BVSPR 2 473 170 17 Samyy luchshiy fi lm 2 RU Oleg Fomin BVSPR 2 423 755 18 Up US P. Docter, B. Peterson BVSPR 2 263 755 19 Night at the Museum: Battle of… US/CA Shawn Levy 20th Century Fox 2 079 811 20 Kniga masterov (The Book of Masters) RU Vadim Sokolovsky BVSPR 2 041 509

(1) Excluding Ukraine. (2) Still on release after November 2009. Sources: Russian Film Business Today, OBS

Production and Funding The Russian fi lm production industry is currently

facing a period of uncertainty with the yet to be announced new public support scheme poten- tially bringing with it signifi cant changes in the local fi lm production landscape. State funding had been a primary source of fi nancing for both blockbusters as well as art-house fi lms, spurring on local production activity until 2008 when the Federal Agency for Cinematography and Culture was closed down and its functions taken over by the Ministry of Culture. No public funding was granted to any new fi lm projects in 2009 due to a temporary freeze on fi lm grants, with only previously agreed grants to be paid from the state’s annual USD 140 million fi lm fund. The number of Russian fi lms consequently stagnated at 78 releases in 2009 and is likely to go down in 2010. Up until now, no details of the new state support systems have been announced. Many art-house fi lmmakers fear that the future system will focus on funding a very limited number of large-scale productions leaving art-house produc- tions struggling. This development will likely see an increased amount of consolidation, further pressure on production costs as well as more Russian producers turning to international co- productions, which have been comparatively rare in the past due to suffi cient local funding, in order to fi nance their projects.

Distribution and Exhibition Despite the fi nancial crisis the Russian Federation

continued its impressive growth trend with modern screens increasing by 11.5% driving admissions to grow by 11.8% to reach 138.5 million tickets sold. However, with the Russian ruble losing around 20% of its value against the US dollar in 2009, GBO reported in US dollars dropped from USD 830 million in 2008 to USD 736 million last year. As in past years, box offi ce was domi- nated by US and local productions, the latter taking a market share of 23.9%. A clear trend towards ‘blockbusterization’ could be observed with admissions to the top 50 fi lms increasing by 6.4% year-on-year, while admissions to the fi lms ranking between 51 and 100 decreased by almost 30%. A new regulation introducing a manda- tory uniform ticket sales reporting system for all fi lm theatres is supposed to come into force on May 1, 2010. It responds to claims by local pro- ducers that theatres were systematically retaining a portion (5-6%) of their revenues. Driven almost exclusively by 3D screens, digital cinema jumped from 90 digital screens to 352 by year-end.

Sources: Nevafi lm, RFilms, Russian Film Business Today, Screen International, OBS, Planeta-Inform

Other Western Europe

Admissions in selected Western European countries | 2005-2009 In millions.

Sources: SGA, FAFO, INS, FCB, CSA, NVF-NVB, ICA, OFS, STATEC, OBS

Number of feature fi lms produced in selected Western European countries | 2005-2009

Sources: OFI, MFB, VAF, SGA, NFF, ICA, IFB, OFS, OBS

Portugal

Netherlands e

Austria Ireland Portugal Switzerland

Switzerland Belgium e

Ireland Austria

(1) 2008

Austria Belgium Ireland Netherlands Portugal Switzerland Population 2009 e (millions) 8.4 10.8 4.5 16.6 10.6 7.8 GDP per capita 2009 e 43 570 40 019 49 096 44 259 19 624 61 741 Gross box offi ce 2009 (million USD) 181.6 187.3 (1) 173.3 279.5 102.7 211.4 Admissions 2009 18.4 22.6 17.7 27.3 15.7 15.3 Average ticket price 2009 (USD) 9.86 8.54 (1) 9.81 10.24 6.54 13.86 Average admissions per capita 2009 2.20 2.08 3.97 1.65 1.48 1.97 Screens 2009 577 491 (1) 442 649 (1) 577 559 Digital screens 2008 | 2009 84 | 239 98 | 144 38 | 112 56 | 105 44 | 181 17 | 63 Digital 3D screens 2009 101 45 68 94 89 54 National market shares 2009 e 8.0% 7.9% 0.2% 17.4% 2.7% 3.4%

Netherlands

Belgium e

Other Western Europe

Top 10 fi lms by admissions in Austria | 2009

Top 10 fi lms by admissions in the Netherlands | 2009

Top 10 fi lms by admissions in Switzerland | 2009

Top 10 fi lms by admissions in Portugal | 2009

Sources: Austrian Film Institute, Nielsen EDI

Sources: MaccsBox, NVB & NVF

Source: Offi ce fédéral de la statistique

Source: ICA

Original title Country of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 1 272 648 2 Wickie und die starken Männer DE Michael Herbig Constantin Film 796 094 3 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 556 145 4 Angels & Demons US Ron Howard Sony Pictures 507 545 5 The Hangover US/DE Todd Phillips Warner Bros. 441 699 6 Inglourious Basterds US/DE Quentin Tarantino Universal Pictures 385 720 7 Avatar US/GB James Cameron 20th Century Fox 375 125 8 2012 US/CA Roland Emmerich Sony Pictures 359 841 9 New Moon US Chris Weitz Constantin Film 344 501

10 The Proposal US Anne Fletcher Walt Disney 333 165

Original title Country of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 1 029 015 2 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 469 966 3 Slumdog Millionaire GB D. Boyle, L. Tandan Pathé Films 429 892 4 Angels & Demons US Ron Howard Walt Disney Studio 407 476 5 2012 US/CA Roland Emmerich Walt Disney Studio 398 580 6 Up US P. Docter, B. Peterson Walt Disney Studio 344 909 7 Avatar US/GB James Cameron 20th Century Fox 337 800 8 The Hangover US/DE Todd Phillips Warner Bros. 335 679 9 New Moon US Chris Weitz Elite-Film 319 619

10 Australia US/AU Baz Luhrmann 20th Century Fox 293 293

Original title Country of origin Director Distributor Admissions

1 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 1 357 884 2 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 1 134 483 3 Komt een vrouw bij de dokter NL Reinout Oerlemans Benelux Film Distrib. 922 129 4 Up US P. Docter, B. Peterson Walt Disney Studio 788 231 5 De storm NL/BE Ben Sombogaart Universal Pictures Int 729 629 6 Angels & Demons US Ron Howard Sony Pict. Releasing 704 258 7 Inglourious Basterds US/DE Quentin Tarantino Universal Pictures Int 629 010 8 2012 US/CA Roland Emmerich Sony Pict. Releasing 565 144 9 Slumdog Millionaire GB D. Boyle, L. Tandan Cinéart Nederland 536 788

10 This Is It US Kenny Ortega Sony Pict. Releasing 513 041

Original title Country of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier CLMC Multimedia 667 684 2 2012 US/CA Roland Emmerich Col. TriStar Warner 530 741 3 New Moon US Chris Weitz Lusom. Audiovisuais 513 328 4 Angels & Demons US Ron Howard Col. TriStar Warner 504 740 5 Up US P. Docter, B. Peterson Lusom. Audiovisuais 469 668 6 Harry Potter and the Half-Blood Prince GB inc/US David Yates Col. TriStar Warner 434 514 7 Avatar US/GB James Cameron CLMC Multimedia 424 088 8 The Curious Case of Benjamin Button US David Fincher Col. TriStar Warner 397 244 9 Slumdog Millionaire GB D. Boyle, L. Tandan Lusom. Audiovisuais 382 753

10 Inglourious Basterds US/DE Quentin Tarantino Lusom. Audiovisuais 339 658

Nordic countries

Admissions in Nordic countries | 2005-2009 In millions.

Sources: DFI, FFF, HI, Film & Kino, SFI

(1) 2008

Denmark Finland Iceland Norway Sweden Population 2009 e (millions) 5.5 5.4 0.3 4.9 9.3 GDP per capita 2009 e 52 815 44 217 36 878 70 644 38 960 Gross box offi ce 2009 (million USD) 192.0 80.6 11.3 165.5 202.0 Admissions 2009 13.9 6.7 1.7 12.7 17.4 Average ticket price 2009 (USD) 13.78 12.04 6.71 13.03 11.61 Average admissions per capita 2009 2.5 1.3 5.3 2.6 1.9 Screens 2009 397 (1) 315 33 422 848 (1)

Digital screens 2008 | 2009 10 | 25 12 | 48 7 | 7 48 | 61 8 | 36

Digital 3D screens 2009 23 43 7 28 28 National market shares 2009 e 17.3% 15.0% 10.3% 20.6% 32.7%

Number of feature fi lms produced in the Nordic countries | 2005-2009

Sources: DFI, FFF, HI, NFI, SFI, OBS

Denmark Norway Finland

Sweden

Iceland

Finland

Denmark Norway

Note: Danish fi gures refer to number of feature fi lms receiving public funding in a given year.

Nordic countries

Top 10 fi lms by admissions in Denmark | 2009

Top 10 fi lms by admissions in Norway | 2009

Top 10 fi lms by admissions in Finland | 2009

Top 10 fi lms by admissions in Sweden | 2009

Sources: Statistics Denmark, DFI

Source: Film og Kino

Source: Finnish Film Foundation

Source: Swedish Film Institute

Original title Country of origin Director Distributor Admissions

1 Män som hatar kvinnor SE/DK/DE Niels Arden Oplev Nordisk Film 959 207 2 Flickan som lekte med elden SE/DK/DE Daniel Alfredson ~ 784 701 3 Harry Potter and the Half-Blood Prince GB inc/US David Yates Sandrew Metronome 596 291 4 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier ~ 515 583 5 Up US P. Docter, B. Peterson ~ 496 825 6 Angels & Demons US Ron Howard ~ 494 143 7 Sorte Kugler DK Anders Matthesen ~ 404 777 8 Luftslottet som sprängdes SE/DK/DE Daniel Alfredson ~ 404 504 9 Avatar US/GB James Cameron ~ 322 038

10 Bolt US B. Howard, C. Williams ~ 258 715

Original title Country of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier FS Film 390 778 2 Harry Potter and the Half-Blood Prince GB inc/US David Yates Sandrew Metronome 346 170 3 Rööperi FI Aleksi Mäkelä Nordisk Film Film 256 307 4 Up US P. Docter, B. Peterson Disney 218 506 5 Angels & Demons US Ron Howard Disney 200 797 6 Slumdog Millionaire GB D. Boyle, L. Tandan FS Film 187 156 7 Inglourious Basterds US/DE Quentin Tarantino Finnkino 181 234 8 New Moon US Chris Weitz Nordisk Film Film 179 638 9 Bolt US B. Howard, C. Williams Disney 162 129

10 Twilight US Catherine Hardwicke Nordisk Film Film 155 426

Original title Country of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 859 617 2 Max Manus NO/DK/DE Roenning, Sandberg Nordisk Filmdistrib. 758 445 3 Män som hatar kvinnor SE/DK/DE Niels Arden Oplev Nordisk Filmdistrib. 532 167 4 Harry Potter and the Half-Blood Prince GB inc/US David Yates Sandrew Metronome 517 138 5 Flickan som lekte med elden SE/DK/DE Daniel Alfredson Nordisk Filmdistrib. 487 637 6 Knerten NO Åsleik Engmark Scanbox 355 771 7 Julenatt i Blåfjell NO Uthaug, Launing Sandrew Metronome 343 746 8 Angels & Demons US Ron Howard Walt Disney Studios 325 725 9 Up US P. Docter, B. Peterson Walt Disney Studios 325 157

10 New Moon US Chris Weitz Nordisk Filmdistrib. 274 822

Original title Country of origin Director Distributor Admissions

1 Män som hatar kvinnor SE/DK/DE Niels Arden Oplev Nordisk Film 1 217 018 2 Flickan som lekte med elden SE/DK/DE Daniel Alfredson Nordisk Film 1 029 295 3 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner 754 497 4 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 668 038 5 Sommaren med Göran - En midsom… SE Staffan Lindberg Nordisk Film 550 085 6 Luftslottet som sprängdes SE/DK/DE Daniel Alfredson Nordisk Film 509 122 7 New Moon US Chris Weitz Nordisk Film 466 158 8 Up US P. Docter, B. Peterson Walt Disney 461 412 9 Avatar US/GB James Cameron 20th Century Fox 453 296

10 Angels & Demons US Ron Howard Sony Pict. Releasing 400 701

Central and South-Eastern Europe

Bulgaria Croatia Czech

Republic Hungary Romania Slovakia Slovenia Population 2009 e (millions) 9.3 4.4 10.5 10.0 21.5 5.4 2.1 GDP per capita 2009 e 6 823 13 220 16 684 12 531 7 774 16 241 24 181 Gross box offi ce 2009 (million USD) 17.9 15.9 65.5 55.5 28.4 23.5 16.2 Admissions 2009 3.2 3.3 12.5 10.6 5.3 4.1 2.8 Average ticket price 2009 (USD) 5.65 4.89 5.26 5.24 5.39 5.67 5.80 Average admissions per capita 2009 0.3 0.7 1.2 1.1 0.2 0.8 1.4 Screens 2009 94 (1) 112 (1) 695 415 182 235 (1) 103 Digital screens 2008 | 2009 17 | 23 7 | 8 2 | 50 7 | 31 14 | 41 0 | 10 9 | 9 Digital 3D screens 2009 12 8 47 28 25 10 9 National market shares 2009 e 1.6% 1.6% 25.6% 9.3% 2.3% 12.4% 1.9%

Number of feature fi lms produced in Central and South-Eastern Europe | 2005-2009

Admissions in Central and South-Eastern Europe | 2005-2009 In millions.

Sources: HAVCR, NFO, Ministry of Culture of the Czech Republic, CNC, SKFI, FSRS, NFC

Sources: OBS, NFO, UFD, CNC, HAVCR , SKFI, FSRS, NFC

(1) 2008

Czech Republic

Hungary

Romania

Czech Republic

Hungary

Slovenia

Slovakia Croatia Bulgaria Slovenia

Romania e

Slovakia Croatia Bulgaria

3939

Central and South-Eastern Europe

Top 10 fi lms by admissions in the Czech Republic | 2009

Top 10 fi lms by admissions in Romania | 2009

Top 10 fi lms by admissions in Hungary | 2009

Top 10 fi lms by admissions in the Slovak Republic | 2009

Source: Unie Filmovvych Distributoru

Source: Centrul National al Cinematografi ei

Source: National Film Offi ce

Source: Slovak Film Institute

Original title Country of origin Director Distributor Admissions

1 Líbá" jako B h CZ Marie Polednáková Falcon 904 589 2 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Bontonfi lm 852 067 3 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 684 247 4 Avatar US/GB James Cameron Bontonfi lm 375 733 5 2 Bobule CZ Vlad Lanne Bioscop/Magic Box 357 373 6 Angels & Demons US Ron Howard Falcon 308 144 7 This Is It US Kenny Ortega Falcon 291 505 8 Peklo s princeznou CZ Milos Smídmajer Bioscop/Magic Box 269 593 9 2012 US/CA Roland Emmerich Falcon 260 202

10 Inglourious Basterds US/DE Quentin Tarantino Bontonfi lm 247 017

Original title Country of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Intercom 652 823 2 Harry Potter and the Half-Blood Prince GB inc/US David Yates Intercom 491 597 3 Avatar US/GB James Cameron Intercom 369 962 4 The Hangover US/DE Todd Phillips Intercom 318 719 5 Angels & Demons US Ron Howard Intercom 286 973 6 New Moon US Chris Weitz Fórum-Hungary 277 543 7 The Proposal US Anne Fletcher Fórum-Hungary 270 628 8 Up US P. Docter, B. Peterson Fórum-Hungary 205 642 9 2012 US/CA Roland Emmerich Intercom 222 774

10 Inglourious Basterds US/DE Quentin Tarantino UIP Dunafi lm 244 288

Original title Country of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Odeon Cineplex 334 217 2 2012 US/CA Roland Emmerich Intercomfi lm 288 991 3 Avatar US/GB James Cameron Odeon Cineplex 255 590 4 New Moon US Chris Weitz Mediapro 134 340 5 A Christmas Carol US Robert Zemeckis Prooptiki 120 397 6 The Final Destination US David R. Ellis Intercomfi lm 115 830 7 The Hangover US/DE Todd Phillips Intercomfi lm 107 573 8 The Proposal US Anne Fletcher Prooptiki 101 796 9 Angels & Demons US Ron Howard Intercomfi lm 97 515

10 Inglourious Basterds US/DE Quentin Tarantino Ro-Image 2000 96 017

Original title Country of origin Director Distributor Admissions

1 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Tatra Film 399 454 2 Harry Potter and the Half-Blood Prince GB inc/US David Yates Continental Film 205 564 3 Janosik. Prawdziwa historia PL/SK/CZ A. Holland, K. Adamik 151 845 4 Angels & Demons US Ron Howard Itafi lm 131 942 5 Pokoj v dusi SK Vladimír Balko Anna Kovacova 116 800 6 Avatar US/GB James Cameron Tatra Film 109 584 7 Fly Me to the Moon BE/US Ben Stassen Intersonic SK 107 679 8 Nestyda CZ Jan Hrebejk 93 470 9 New Moon US Chris Weitz SPI SK 88 534

10 Twilight US Catherine Hardwicke SPI SK 87 331

Poland

Distribution and Exhibition Poland saw impressive 16.1% growth in cinema

attendance in 2009, setting a record high of 39.2 mil- lion tickets, compared to 33.8 million in 2008. Gross box offi ce takings increased by 24.5% year-on year to reach PLN 681.3 million (USD 218 million), spurred by an increasing average ticket price. Polish fi lms could not quite reach 2008’s exceptionally high market share of 24.1%, but managed to attract 21.5% of total admissions, confi rming the strong come-back of Polish fi lms over the past years, coming from a market share of just 3.4% in 2005. Three US blockbusters, the latest instalments of Madagascar and Ice Age as well as 2012 topped the Polish charts in 2009, followed by local productions Love and Dance and Popieluszko: Freedom Is Within Us, a biopic about Jerzy Popie!uszko, a Catholic priest associated with Solidarnosc and murdered by the internal intelli- gence agency in 1984. US fi lms accounted for an estimated 65% of total market volume. The dis- tribution market was once more dominated by US major UIP taking the lead (26.8%) followed by Forum Film (12.8%) and Imperial Cinepix (11.9% each). The Polish exhibition sector is highly concentrated with the three leading chains, Cinema City (37.4%), Multikino-SilverScreen (24.5%) and

Helios-Kinoplex (19.7%) accounting for a cumula- tive 81.5% of the market. Despite the fact that a national programme for the digitisation of cinemas is still under discussion, digital screens increased from 53 screens in 2008 to 176 in 2009. The national support scheme aims at supporting up to 350 cinemas in installing digital projectors obliging participating cinemas to reserve 15% of their screen- ings for Polish fi lms and 20% for European fi lms.

Production According to fi gures from the Polish Film Institute

(PISF), there were 42 feature fi lms produced in 2009, 3 less than in 2008. While signifi cantly decreasing between 2000 and 2004, local production levels started to grow again with public funding schemes developed by the Polish Film Institute becoming operational in May 2006 as well as the creation of several regional fi lm funds. In 2009 the PISF spent over PLN 132.6 million (USD 42.5 million) on supporting fi lm production, 15% more than in 2008 and almost double the amount allocated in earlier years.

Sources: Polish Film Iinstitute (PISF), boxoffi ce.pl, Film New Europe, OBS

Population 2009 e 38.1 million GDP per capita 2009 e 10 583 USD Gross box offi ce 2009 (million) 681.3 M PLN (218.1 M USD) Admissions 2009 39.2 million Average ticket price 2009 17.39 PLN (5.57 USD) Average admissions per capita 2009 1.03 Screens 2008 | 2009 1 043 | ~ Screens in Multiplexes 2008 | 2009 e 44.5% | ~ Digital screens 2008 | 2009 53 | 176 Digital 3D screens 2008 | 2009 ~ | 141

Others 78.5%

National 21.5%

Market shares 2009

Top 10 fi lms by admissions in Poland | 2009

Original title Country of origin Director Distributor Admissions

1 Madagascar: Escape 2 Africa US Darnell, McGrath UIP 2 105 476 2 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Imperial Cinepix 1 990 248 3 2012 US/CA Roland Emmerich UIP 1 526 437 4 Kochaj i tancz PL Bruce Parramore ITI Cinema 1 336 102 5 Popieluszko. Wolnosc jest w nas PL Rafal Wieczynski Kino Swiat 1 312 230 6 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner 1 157 551 7 Angels & Demons US Ron Howard UIP 1 059 911 8 U2 3D US Pellington, Owens Forum Film 903 477 9 Monsters vs. Aliens US Letterman, Vernon UIP 792 397

10 New Moon US Chris Weitz Monolith 744 338 Source: boxoffi ce.pl

Turkey

Population 2009 e 70.4 million GDP per capita 2009 e 7 840 USD Gross box offi ce 2009 (million) 308.2 M TRY (198.0 M USD) Admissions 2009 36.9 million Average ticket price 2009 8.35 TRY (5.37 USD) Average admissions per capita 2009 0.52 Screens 2008 | 2009 1 575 | ~ Screens in Multiplexes 2008 | 2009 e 24.8% | ~ Digital screens 2008 | 2009 20 | 62 Digital 3D screens 2008 | 2009 ~ | 59

Market shares 2009

Others 49.1%

National 50.9%

Top 10 fi lms by admissions in Turkey | 2009

Original title Country of origin Director Distributor Admissions

1 Recep Ivedik 2 TR Togan Gökbakar Ozen Film 4 333 116 2 Günesi gördüm TR Mahsun Kirmizigül Pinema 2 491 454 3 Nefes: Vatan sagolsun TR Levent Semerci Medyavizyon 2 419 136 4 2012 US/CA Roland Emmerich Warner Bros. 1 468 855 5 Ice Age: Dawn of the Dinosaurs US C. Saldanha, M. Thurmeier Tiglon 1 408 523 6 New Moon US Chris Weitz Tiglon 1 195 932 7 Neseli hayat TR Yilmaz Erdogan Cinefi lm 1 071 580 8 Kurtlar vadisi: Gladio TR Sadullah Sentürk Ozen Film 862 947 9 Issiz adam TR Cagan Irmak Cinefi lm 771 747

10 Avatar US/GB James Cameron Tiglon 721 582 Source: Sinema Gazetesi

Distribution and Exhibition Turkish theatrical admissions decreased by

4.1% to 36.9 million tickets sold in 2009. With the average ticket price increasing by 7% overall gross box offi ce takings, however, grew to TRY 308 million (USD 198 million), up 2% from 2008. First releases accounted for 94.3% of total admis- sions. The number of first released decreased slightly from 265 in 2008 to 255, out of which 69 fi lms were of Turkish origin (27%). Led by Recep Ivedik 2, which became the country’s most watched fi lm in recent years, selling more than 4.33 million tickets, national fi lms took a market share of 51%. This represents a signifi cant drop from 2008’s record high of 58.3% as admissions to local fi lms decreased by 19% year-on-year. US fi lms accounted for 33% of all releases, taking an estimated market share of 42%, compared to only 33% in 2008. The distribution branch in 2009 was led by Warner Bros. achieving a market share of 19.3% of total GBO, followed by Tiglon Film (18.9%), Özen Film (18.1%) and UIP Türkiye. (15.1%). On a cumulative basis the fi ve leading distributors took 83.5% of the total market. Turkey’s screen base continued to grow with 1 575 screens by year-end 2008, 111 up from the previous year. Multiplex screens accounted for about 25% of the total screen base in 2008.

Digital roll-out remained moderate with the number of digital screens increasing from 20 at the end of 2008 to 62 by end 2009. Turkey is currently considering an amendment of its anti-piracy regulations based on the French model of Internet Service Providers having to monitor illegal fi lm and music downloads and perpetrators having their internet connections disconnected for two to twelve months.

Production and Funding

Driven by increasing demand for local fi lms and public support Turkish fi lm production has been growing signifi cantly over the past years. While there were only 18 national fi lms released six years ago, this increased to 43 in 2007, 51 in 2008 and 69 in 2009. The success of local fi lms at the box offi ce has helped to attract funding from broadcasters and even private money, but profi tability remains a key issue for many produc- tions with experts estimating that about 30 out of the 69 Turkish fi lms made in Turkey are strug- gling to make a profi t. The Turkish fi lm industry is eagerly awaiting the country’s fi rst 3D produc- tion, expected to become Turkey’s most expensive fi lm to date, to be released by year-end.

Sources: Sinema Gazetesi, Variety, Hürriyet, OBS

North America

Market shares 2009 e

Admissions and gross box offi ce in the US & Canada | 2005-2009

Sources: MPAA, Rentrak

Number of feature fi lms produced in the United States and Canada | 2005-2009

Sources: MPAA, CFTPA

Admissions (billions)

Gross box offi ce (USD billion)

CA fi lms produced (3)

US fi lms 91.8%

Others 7.4%

CA fi lms 0.8%

US fi lms produced (1)

US fi lms released

(1) Historical data has been updated due to change of sources. Does not include feature documentaries.

(2) Based on fi scal year April to March.

North America US Canada Population 2009 e (millions) 341.0 307.4 33.6 GDP per capita 2009 e (USD) 44 667 45 550 36 589 Gross box offi ce 2009 (million USD) 10.6 9 629 (1) 863 (1)

Admissions 2009 e (millions) 1 420 1 364 (1) 108 (1)

Average ticket price 2009 (USD) e 7.50 7.18 (1) 8.01 (1)

Average admissions per capita 2009 e 4.3 4.47 (1) 3.2 (1)

Screens 2009 e 41 861 39 028 2 833 (1)

Digital screens 2009 7 736 7 418 318 National market shares 2009 e 92.7% 91.8% 0.8% (1) 2008

North America

Distribution and Exhibition 2009 proved to be an excellent year for the

North American theatrical market with gross box offi ce growing for the fourth consecutive year in a row. Driven by 3D blockbusters and successful sequels GBO takings in the US and Canada increased by an impressive 10.1% year-on-year to reach USD 10.6 billion, the highest level on record. After falling for two years in a row, cinema attendance grew to 1.42 million tickets sold, up 5.5% from 2008 and representing the highest level in fi ve years. With 4.3 cinema tickets bought by each citizen on average per year, the North American market boasts the highest cinema going rate per person among the world’s major theatrical markets. Swelled by premium 3D prices, average ticket prices increased from USD 7.18 in 2008 to USD 7.50. Besides 3D titles, high-profi le fran- chise fi lms dominated the 2009 box offi ce. Led by Transformers 2, the latest Harry Potter instal- ment as well as New Moon, sequels or spin-offs accounted for almost half of the 20 most successful fi lms in the North American box offi ce in 2009. The number of fi lm releases dropped signifi cantly from 633 fi lms in 2008 to 558 fi lms released in 2009. While the number of major studio releases actually increased from 108 to 111, the drop in overall releases stems exclusively from a dramatic decline in the independent distribution sector. US fi lms took an estimated market share of 91.8% of the North American market, Canadian fi lms accounting for 0.8%. European fi lms, including fi lms produced in Europe with incoming invest- ment from the US, accounted for 6.8%, 1.3% per- centage points up from 2008. A total of 32 fi lms crossed the USD 100 million benchmark, com- pared to 25 fi lms in 2008 and 28 in 2007. Warner Bros. became the market leading studio in 2009, taking an estimated 20% of the total box offi ce, followed by Paramount (13.9%), Sony/Columbia (13.7%) and 20th Century Fox (13.2%).

3D and Digital Cinema 2009 marked the fi rst year in which 3D cinema

had a signifi cant impact on the overall market. 3D screenings generated a GBO of USD 1.14 bil- lion, accounting for 10.7% of total GBO. This com- pares to GBO takings of USD 240 million and a share of only 2,5% in the previous year. In 2009 a total of 20 digital 3D fi lms were released, com- pared to 6 to 8 fi lms between 2005 and 2008. The huge success of 3D fi lms was made possible by US and Canadian theatres increasing their 3D screen

base and the release of high-quality productions such as James Cameron’s Avatar, Up, Monsters vs. Aliens and Ice Age 3, all of which made it into the top 10 fi lms of the year. The number of digital 3D screens in the region more than doubled, growing by 134% to 3 548 screens, and represents 46% of the total digital screen base, which grew by 36.7% to 7 736 screens in 2009. Accounting for 7 418 of these digital screens, US exhibitors had converted about 19% of their total indoor screen base to digital by the end of 2009. In Canada the conversion rate is estimated at around 11%.

US Production According to revised MPAA fi gures, US pro-

duction volume continued its downward trend in 2009. After plummeting from well above 900 fea- ture fi ction fi lms between 2005 and 2007 to 716 in 2008, production activity dropped by another 39 fi lms to 677 feature fi ction fi lms produced in 2009. It remains to be seen whether this decrease in production activity remains a temporary phe- nomenon caused by labour issues, such as the strike of the Writer’s Guilds of America in 2007 and 2008, and the challenging overall economic environment, or whether US production levels will remain at such comparatively low levels for some time to come, indicating a trend towards ‘block- busterization’ with major studios focusing on pro- ducing and distributing big budget blockbusters while the independent sector is struggling to fi nd screen space in an increasingly digital world.

Canada According to data from Telefilm Canada,

Canadian GBO increased by 9.5% to CAD 1 bil- lion (USD 886 million) with local market share for Canadian fi lms increasing from 2.9% to 3.3%. The Canadian Film and Television Production Association (CFTPA) have moved the publication date of their 2008/09 report on fi lm production to December 2010, so that there are currently no recent fi gures available on Canadian production activity, except for theatrical production investment which decreased by 21.8% to CAD 235 million in the period between April 2008 and March 2009, the lowest level since 2000/01. In 2007/08 Canadian production companies produced 75 feature fi lms. Median production costs had amounted to CAD 2.1 million.

Sources: MPAA, Screen International, Variety, BoxOffi ceMojo, CFTPA, Observatoire de la culture

et des communications de Québec, OBS

North America

3D development in the United States and Canada | 2005-2009

Screen development in the United States and Canada | 2005-2009

Sources: MPAA, Rentrak, Sceen Digest

Sources: MPAA, Rentrak

Number of 3D screens

Total indoor screens e

GBO from 3D fi lms (in USD million)

Digital 3D fi lms released

Digital screens

3D screens

North America

Top 20 fi lms by gross box offi ce in North America | 2009

Top 20 fi lms by admissions in Québec | 2009

Original title Country of origin Director

Gross box offi ce Distributor (in USD)

1 Transformers: Revenge of the Fallen US Michael Bay Paramount Pict. 402 111 870 2 Avatar (1) US/GB James Cameron Fox 352 114 898 3 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 301 959 197 4 Up US P. Docter, B. Peterson Disney 293 004 164 5 New Moon (1) US Chris Weitz Summit 287 954 655 6 The Hangover US/DE Todd Phillips Warner Bros. 277 322 503 7 Star Trek US J.J. Abrams Paramount Pict. 257 730 019 8 The Blind Side (1) US John Lee Hancock Warner Bros. 208 476 067 9 Monsters vs. Aliens US Letterman, Vernon Param.-DreamW. 198 351 526

10 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Fox 196 573 705 11 X-Men Origins: Wolverine US Gavin Hood Fox 179 883 157 12 Night at the Museum: Battle of the Smith… US/CA Shawn Levy Fox 177 243 721 13 The Proposal US Anne Fletcher Disney 163 958 031 14 2012 (1) US/CA Roland Emmerich Sony 163 442 128 15 Alvin and the Chipmunks: The Squeakquel (1) US Betty Thomas Fox 155 913 935 16 Fast & Furious 4 US Justin Lin Universal Pictures 155 064 265 17 G.I. Joe: The Rise of Cobra US/CZ Stephen Sommers Paramount Pict. 150 201 498 18 Paul Blart: Mall Cop US Steve Carr Sony 146 336 178 19 Taken FR Pierre Morel Fox 145 000 989 20 Gran Torino US/AU Clint Eastwood Warner Bros. 141 211 171

Original title Country of origin Director Distributor Admissions

1 De père en fl ic CA Émile Gaudreault Alliance Vivafi lm 1 242 275 2 New Moon US Chris Weitz Les Films Séville 840 004 3 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 817 971 4 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier 20th Century Fox 676 491 5 Transformers: Revenge of the Fallen US Michael Bay DreamWorks Pict. 644 099 6 Angels & Demons US Ron Howard Columbia Pictures 603 537 7 2012 (1) US/CA Roland Emmerich Columbia Pictures 507 379 8 Avatar (1) US/GB James Cameron 20th Century Fox 478 693 9 Fast & Furious 4 US Justin Lin Universal Pictures 462 864

10 X-Men Origins: Wolverine US Gavin Hood 20th Century Fox 415 813 11 Slumdog Millionaire GB D. Boyle, L. Tandan Fox Searchl. Pict. 411 232 12 Star Trek US J.J. Abrams Paramount Pict. 408 518 13 Taken FR Pierre Morel 20th Century Fox 367 553 14 Up US P. Docter, B. Peterson Walt Disney 356 595 15 Inglourious Basterds US/DE Quentin Tarantino Alliance Vivafi lm 329 546 16 The Proposal US Anne Fletcher Walt Disney 313 656 17 The Curious Case of Benjamin Button US David Fincher Paramount Pict. 311 321 18 G.I. Joe: The Rise of Cobra US/CZ Stephen Sommers Paramount Pict. 297 528 19 Monsters vs. Aliens US Letterman, Vernon DreamW. Anim. 292 043 20 District 9 US/NZ Neill Blomkamp Sony Pictures 291 959

(1) Still on release in 2010. Source: Variety

(1) Still on release in 2010. Source: Institut de la statistique du Québec

Latin America

Argentina Bolivia e Brazil Chile Colombia Mexico Peru Uruguay Venezuela Population 2009 e (millions) 40.1 10.2 194.4 17.0 49.0 107.4 29.1 3.2 28.6 GDP per capita 2009 e (USD) 7 732 1 783 6 526 7 994 4 047 7 703 4 225 9 112 10 286 Gross box offi ce 2009 (million USD) 126.1 2.9 (1) 482.9 66.6 91.7 562.5 62.6 10.0 163.6 Admissions 2009 (millions) 33.3 1.7 (1) 112.7 11.9 (1) 27.3 178.0 18.5 (1) 2.4 22.0 (1)

Average admissions per capita 2009 0.83 1.67 (1) 0.58 5.08 (1) 0.56 1.66 3.04 (1) 0.75 5.82 (1)

Average ticket price 2009 (USD) 3.79 0.17 (1) 4.28 0.71 (1) 3.36 3.16 0.65 (1) 4.16 0.78 (1)

Screens 2009 885 49 (2) 2 213 300 593 4 480 170 70 414 (1)

Digital screens 2009 35 ~ 97 16 14 180 11 6 3 National market shares 2009 e 16.0% ~ 14.3% 3.7% 4.8% 7.5% 4.0% 3.0% 0.6%

Number of national feature fi lms released in Latin America | 2005-2009

Admissions in Latin America | 2005-2009 In millions.

Source: Observatorio del Cine y el Audiovisual Latinoamericano

(1) 2008 (2) 2007

Mexico

Brazil

Argentina

Brazil

Mexico

Chile Colombia Peru Uruguay Venezuela

Argentina Venezuela Colombia Peru Chile Uruguay

Latin America

Mexico Struggling with the swine fl u epidemic and

economic crisis, Mexican cinema attendance could not match the strong growth trend expe- rienced in most other Latin American markets, with admissions decreasing by 2.2%, down from a record 182 million in 2008 to 178 mil- lion. Thanks to increasing average ticket prices GBO revenues reached MXN 7 604 million (USD 562 million), up 2.9% from 2008. The Mexican distribution sector remains a diffi cult one for inde- pendent productions to secure screen space in a market dominated by US blockbusters. In this environment a higher number of national releases, 54 in 2009, failed to boost national market share. In another year where not one domestic film made it into the top 10, national market share remained fairly stable at around 7.5%. During 2009 the local fi lm industry successfully fought off proposed budget cuts in public funding and obtained the strengthening of the 226 tax incen- tive programme, now also accessible to interna- tional co-productions, allowing producers a refund of up to 17.5% of their total local spend. With these measures Mexico is hoping to bring back large-scale foreign productions and fi ght off com- petition from other Latin American countries like Colombia, Puerto Rico and Costa Rica which had managed to attract foreign shoots with attractive incentive schemes and low pay scales. The coun- try’s screen base grew by 6.7% to 4 480, with the number of digital screens increasing from 25 to 180, making Mexico the clear leader with regard to digital roll-out in Latin American.

Brazil Boosted by an economic recovery and the strong

performance of local fi lms, Brazilian cinema atten- dance rose by an impressive 25.8% to 112.7 million tickets sold, the highest level since 2004. Thanks to an increase in 3D screens, rising from 20 at the beginning of the year to 97 by the end of the year, higher average ticket prices swelled 2009 GBO by 33.3% reaching a record BRL 970 mil- lion (USD 483 million). A wave of local hits led by Se Eu Fosse Voce 2, a sequel to the 2006 romantic comedy, which sold some 5.5. million tickets and became the highest-grossing domestic fi lm in recent history – only Ice Age 3 scored higher –, turned out to be a driving market force beside the tradi- tionally strong US blockbusters. National market share was up 4.5% to 14.3%, halting a downward trend which had seen market share for domestic

fi lms fall from 21.4% in 2003 to 9.8% in 2008. It has been argued among industry players that the public funding incentive schemes introduced in the early 1990s had succeeded in reviving a practically non-existent fi lm production sector, continuously growing from virtually zero to 84 fi lm releases in 2009. However these schemes tar- geted the production of art-house feature fi lms not designed for mainstream success, hence their failure to boost national market shares. In order to correct this development the Brazilian cinema agency Ancine introduced a new market-driven incentive scheme, the so-called Sector Fund, in 2009. The new fund will support the local fi lm and TV industry with an annual average of BRL 100 million (USD 46 million), buying shares in the films’ rights and focusing on films with market potential. The fund also foresees a special credit line for international co-productions and digital roll-out support of the country’s exhibi- tion sector, which at year end boasted 97 digital screens. The total number of theatrical screens decreased by 2.9% to 2 213.

Argentina Despite the economic crisis, swine fl u and a

shrinking number of screens, cinema attendance grew by 8.8% to 33.3 million tickets sold in 2009. Driven by a strong increase in average ticket price from ARS 11.8 to ARS 14.2 (USD 3.79), GBO grew by 29.3% measured in local currency to ARS 471 million (USD 126 million). Besides US block- busters, it was the strong performance of local titles which drove the overall box offi ce. Led by the award-winning El secreto de sus ojos, a co- production with Spain and topping the charts in 2009 with more than 2.2 million admissions, national fi lms signifi cantly increased their market share from 11.9% to 16%. This development could also refl ect an impact of the stiffening of exhibi- tion regulations introduced in early 2009 by the country’s fi lm institute INCAA, forcing exhibitors to screen local fi lms for at least two weeks in order to secure screen space in a market which is tra- ditionally dominated by US fi lms distributed on large numbers of prints. As of March 2009 there were 11 digital screens operational in Argentina. The closure of a net 144 screens saw Argentina’s total screen base decrease signifi cantly from 1 029 to 885 in 2009, the lowest level in recent years.

Sources: Observatorio del Cine y el Audiovisual Latinoamericano, INCAA, Imcine, Ancine,

Screen International, Variety

Latin America

Number of screens in Latin America | 2005-2009

Source: Observatorio del Cine y el Audiovisual Latinoamericano

Mexico

Brazil

Argentina

Colombia Venezuela Chile Peru Uruguay

Top 10 fi lms by admissions in Brazil | 2009 e

Estimated admissions in Brazil based on average ticket price of 8.61 BRL (4.28 USD).

Original title Country of origin Director Admissions e

1 Ice Age: Dawn of the Dinosaurs US Carlos Saldanha, Mike Thurmeier 9 426 793 2 Se Eu Fosse Você 2 BR Daniel Filho 5 534 146 3 New Moon US Chris Weitz 5 333 363 4 2012 US/CA Roland Emmerich 4 991 315 5 Harry Potter and the Half-Blood Prince GB inc/US David Yates 4 204 839 6 X-Men Origins: Wolverine US Gavin Hood 3 178 599 7 Angels & Demons US Ron Howard 3 254 624 8 Avatar US/GB James Cameron 3 425 057 9 Night at the Museum: Battle of the Smithsonian US/CA Shawn Levy 2 454 226

10 A Mulher Invisível BR Cláudio Torres 2 382 130

Original title Country of origin Director Admissions e

1 Ice Age: Dawn of the Dinosaurs US Carlos Saldanha, Mike Thurmeier 12 236 101 2 Harry Potter and the Half-Blood Prince GB inc/US David Yates 6 581 189 3 2012 US/CA Roland Emmerich 6 033 959 4 Transformers: Revenge of the Fallen US Michael Bay 5 869 863 5 Avatar US/GB James Cameron 5 786 475 6 New Moon US Chris Weitz 5 764 637 7 Up US Pete Docter, Bob Peterson 4 402 792 8 Angels & Demons US Ron Howard 4 156 194 9 Fast & Furious 4 US Justin Lin 4 103 631

10 Monsters Vs. Aliens US Rob Letterman, Conrad Vernon 3 283 525 Sources: Observatorio del Cine y el Audiovisual Latinoamericano, BoxOffi ceMojo, OBS

Sources: Ancine, OBS

Top 10 fi lms by admissions in Mexico | 2009 e

Estimated admissions in Mexico based on average ticket price of 42.72 MXN (3.16 USD).

Latin America

Top 10 fi lms by admissions in Argentina | 2009 e Estimated admissions in Argentina based on average ticket price of 14.16 ARS (3.79 USD).

Top 10 fi lms by gross box offi ce in Venezuela | 2009 e GBO in Venezuela has been converted to USD based on an average exchange rate of 1 USD = 2.15 VEF.

Top 10 fi lms by gross box offi ce in Peru | 2009 e GBO in Chile has been converted to USD based on an average exchange rate of 1 USD = 3.05 PEN.

Top 10 fi lms by gross box offi ce in Chile | 2009 e GBO in Chile has been converted to USD based on an average exchange rate of 1 USD = 569.89 CLP.

Original title Country of origin

Gross box offi ce Director (in USD) e

1 Ice Age: Dawn of the Dinosaurs US Carlos Saldanha, Mike Thurmeier 4 728 421 2 2012 US/CA Roland Emmerich 2 911 229 3 Avatar US/GB James Cameron 2 103 459 4 Transformers: Revenge of the Fallen US Michael Bay 2 073 812 5 Harry Potter and the Half-Blood Prince GB inc/US David Yates 1 955 229 6 G-Force US Hoyt Yeatman 1 870 837 7 New Moon US Chris Weitz 1 816 376 8 Up US Pete Docter, Bob Peterson 1 450 911 9 Angels & Demons US Ron Howard 1 316 272

10 Night at the Museum: Battle of the Smithsonian US/CA Shawn Levy 1 212 880

Original title Country of origin

Gross box offi ce Director (in USD) e

1 Ice Age: Dawn of the Dinosaurs US Carlos Saldanha, Mike Thurmeier 7 059 639 2 2012 US/CA Roland Emmerich 3 975 408 3 Up US Pete Docter, Bob Peterson 3 611 904 4 Harry Potter and the Half-Blood Prince GB inc/US David Yates 3 457 955 5 Avatar US/GB James Cameron 3 249 669 6 New Moon US Chris Weitz 2 392 780 7 Angels & Demons US Ron Howard 2 190 863 8 Transformers: Revenge of the Fallen US Michael Bay 2 028 449 9 G-Force US Hoyt Yeatman 1 580 500

10 Night at the Museum: Battle of the Smithsonian US/CA Shawn Levy 1 368 452

Source: Incaa, OBS

Sources: CNAC, OBS

Sources: Conacine, OBS

Sources: Observatorio del Cine y el Audiovisual Latinoamericano, BoxOffi ceMojo, OBS

Original title Country of origin Director Admissions e

1 El secreto de sus ojos AR/ES Juan José Campanella 2 202 925 2 Ice Age: Dawn of the Dinosaurs US Carlos Saldanha, Mike Thurmeier 1 861 435 3 Harry Potter and the Half-Blood Prince GB inc/US David Yates 986 949 4 Angels & Demons US Ron Howard 773 893 5 Bolt US Byron Howard, Chris Williams 674 345 6 2012 US/CA Roland Emmerich 769 593 7 New Moon US Chris Weitz 750 417 8 Night at the Museum: Battle of the Smithsonian US/CA Shawn Levy 569 573 9 Bedtime Stories US Adam Shankman 512 785

10 Transformers: Revenge of the Fallen US Michael Bay 566 520

Original title Country of origin

Gross box offi ce Director (in USD) e

1 Ice Age: Dawn of the Dinosaurs US Carlos Saldanha, Mike Thurmeier 11 579 756 2 2012 US/CA Roland Emmerich 8 001 814 3 Up US Pete Docter, Bob Peterson 7 209 321 4 Harry Potter and the Half-Blood Prince GB inc/US David Yates 6 573 273 5 G-Force US Hoyt Yeatman 5 154 643 6 Avatar US/GB James Cameron 2 539 845 7 Fast & Furious 4 US Justin Lin 4 578 534 8 Angels & Demons US Ron Howard 4 420 037 9 Night at the Museum: Battle of the Smithsonian US/CA Shawn Levy 4 348 542

10 Transformers: Revenge of the Fallen US Michael Bay 4 008 200

Australia

Admissions and gross box offi ce | 2005-2009

Sources: MPDAA, Screen Australia

Number of fi lms produced in Australia | 2005-2009

Source: Screen Australia

Population 2009 e 21.6 million GDP per capita 2009 e 34 974 USD Gross box offi ce 2009 (million) 1 087 M UD (848.4 M USD) Admissions 2009 90.7 million Average ticket price 2009 12.0 AUD (9.29 USD) Average admissions per capita 2009 4.20 Screens 2008 | 2009 1 980 | 1 989 Digital screens 2008 | 2009 54 | 311 3D screens 2008 | 2009 ~ | 299

Market shares 2009

Total

100% national

Foreign fi lms Co-productions

Admissions (millions)

Gross box offi ce (AUD million)

National 5.0%

US 95.0%

Australia

Top 20 fi lms by admissions in Australia | 2008 Estimated admissions based on average ticket price of 11.99 AUD.

Sources: Screen Australia, MPDAA, OBS

Original title Country of origin Director Distributor Admissions e

1 Harry Potter and the Half-Blood Prince GB Inc/US David Yates Warner Bros 3 385 939 2 Transformers: Revenge of the Fallen US Michael Bay Paramount 3 364 544 3 Avatar US/GB James Cameron Fox 3 236 901 4 New Moon US Chris Weitz Hoyts 3 082 343 5 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Fox 2 484 856 6 Up US Docter, Peterson Walt Disney 2 334 520 7 The Hangover US/DE Todd Phillips Warner Bros 1 785 266 8 Monsters vs. Aliens US Letterman, Vernon Paramount 1 716 822 9 2012 US/CA Roland Emmerich Sony Pictures 1 674 935

10 Slumdog Millionaire GB D. Boyle, L. Tandan Icon 1 574 461 11 X-Men Origins: Wolverine US Gavin Hood Fox 1 549 244 12 Angels & Demons US Ron Howard Sony Pictures 1 511 115 13 Night at the Museum: Battle of the… US/CA Shawn Levy Fox 1 441 455 14 Fast & Furious US Justin Lin Universal 1 428 826 15 The Proposal US Anne Fletcher Walt Disney 1 385 780 16 Gran Torino US/AU Clint Eastwood Roadshow 1 358 210 17 Star Trek US J.J. Abrams Paramount 1 338 916 18 Mao’s Last Dancer AU Bruce Beresford Roadshow/Hopscotch 1 250 358 19 Terminator Salvation US McG Sony Pictures 1 248 877 20 He’s Just Not That Into You US/DE Ken Kwapis Roadshow 1 227 628

Distribution and Exhibition 2009 saw Australia setting a new GBO record

for the second consecutive year, growing by 15% to AUD 1.1 billion (USD 848 million), breaking the AUD 1 billion benchmark for the fi rst time in history. GBO growth was driven both by an increase in cinema attendance, up 7.2% year-on- year to 90.7 million admissions, and ticket price increases. With an annual average of 4.2 cinema tickets bought per citizen, Australia enjoys one of the highest cinema going rates per person in the world. In 2009 a total of 349 fi lms were released, the highest level on record, and 48 fi lms more than in 2008. Led by Mao’s Last Dancer the 46 national releases took a 5% share of total GBO. US fi lms continued to dominate the market, accounting for half of all fi lms released in 2009 and taking a market share of 83%. Australian screen count remained fairly stable with a total of 1 989 screens, up 9 from 2008. The arrival of a number of 3D blockbusters gave a boost to digital roll-out with digital screens increasing from just 54 in 2008 to 311 by end 2009.

Production and Funding Local feature fi lm production activity decreased

from 45 fi lms to 38 fi lms shooting in 2008/09,

breaking down into 29 entirely national fi lms, 3 co-productions and 6 foreign fi lms. Total pro- duction spend in Australia, however, increased by 31% to AUD 359 million, primarily driven by two local high-budget titles, Guardian of Ga’Hoole and Happy Feet 2. Due to a strong Australian dollar, for- eign spend collapsed, falling from AUD 105 million in 2007/08 to a mere AUD 2 million in 2008/09. Public funding for local productions, including co-productions, accounted for just 9% of their total budget in 2008/09, compared to a 5-year average of 23%. This development refl ects an overall decrease in direct public funding for fea- ture fi lms. This funding is primarily administered by Screen Australia, established in 2008 and bringing together the country’s previous three fi lm related agencies. On the other hand, the 40% producer tax offset introduced in September 2008, seems to have spurred investment from local fi lm, TV industry sources, increasing from AUD 37 mil- lion to AUD 130 million in 2008/09 and accounting for 33% of total fi nancing, compared to a 5-year average of 16%. Having contributed 18% in the previous year, Australian private investors pulled out of fi lm fi nancing, accounting for a mere 1% of total budgets, leaving the majority fi nancing of local fi lm production to foreign investors (57%).

Sources: Screen Australia, MPDAA, Screen International, OBS

Asia

Admissions in selected Asian countries | 2005-2009 In millions.

Number of feature fi lms produced in Asia | 2005-2009 Sources: Taiwan Cinema, Singapore Film Commission,

Screen Digest, Screen International, FINAS, OBS

Sources: FINAS, Singapore Film Commission, Taiwan Cinema, Screen Digest, OBS

Philippines

Hong Kong e

Indonesia

Singapore

Philippines

Thailand Hong Kong

Indonesia Malaysia

Thailand Taiwan

Taiwan Malaysia

Singapore

Hong Kong Indonesia Malaysia Philippines Singapore Taiwan Thailand Population 2009 e (millions) 7.1 230.8 27.8 92.2 4.8 23.2 67.1 GDP per capita 2009 e (USD) 29 172 2 030 26 513 1 698 37 170 14 365 4 005 GBO 2009 e (million USD) 152.2 102.2 (1) 114.1 113.8 (1) 115.3 172.3 101.3 (1)

Admissions 2009 e (millions) 20.1 (1) 50.1 (1) 44.1 65.4 (1) 22.0 23.6 27.1 (1)

Average ticket price 2009 e (USD) 6.95 (1) 2.04 (1) 2.59 1.74 (1) 5.25 7.29 3.74 (1)

Average admissions per capita 2009 e 2.9 (1) 0.22(1) 1.59 1.74 (1) 4.63 1.02 0.30 (1)

Screens 2009 221 (1) 712 (1) 485 770 (1) 175 565 737 (1)

Digital screens 2008 | June 2009 13 | 41 6 | ~ 5 | ~ 5 | ~ 28 | 23 29 | 38 18 | ~ National market shares 2009 e 21.0% ~ 13.7% ~ 3.8% 2.3% 37.5% (1)

(1) 2008

Asia

Top 10 fi lms by gross box offi ce in Singapore | 2009 e

GBO in Singapore has been converted to USD based on an average exchange rate of 1 USD = 1.45 SGD.

Original title Country of origin

Gross box offi ce Director (in USD million)

1 Avatar US/GB James Cameron 8.43 2 Transformers: Revenge of the Fallen US Michael Bay 6.21 3 2012 US/CA Roland Emmerich 6.06 4 Harry Potter and the Half-Blood Prince GB inc/US David Yates 5.87 5 Up US Pete Docter, Bob Peterson 5.05 6 Ice Age: Dawn of the Dinosaurs US C. Saldanha, M. Thurmeier 4.16 7 Night at the Museum: Battle of the Smithsonian US/CA Shawn Levy 3.65 8 Ga yau hei si (All's Well, Ends Well) HK Vincent Kok 3.18 9 The Curious Case of Benjamin Button US David Fincher 3.15

10 Slumdog Millionaire GB D. Boyle, L. Tandan 3.13

Original title Country of origin

Gross box offi ce Director (in USD million) e

1 Avatar US/GB James Cameron 7.08 2 Transformers: Revenge of the Fallen US Michael Bay 5.43 3 2012 US/CA Roland Emmerich 4.13 4 Harry Potter and the Half-Blood Prince GB inc/US David Yates 3.23 5 Night at the Museum: Battle of the Smithsonian US/CA Shawn Levy 2.82 6 Up US Pete Docter, Bob Peterson 2.61 7 Ice Age: Dawn of the Dinosaurs US C. Saldanha, M. Thurmeier 2.54 8 X-Men Origins: Wolverine US Gavin Hood 2.34 9 G.I. Joe: The Rise of Cobra US/CZ Stephen Sommers 2.34

10 Alvin and the Chipmunks: The Squeakquel US Betty Thomas 2.13

Source: Screen International

Sources: Singapore Film Commission, OBS

Top 10 fi lms by gross box offi ce in Hong Kong | 2009

Distribution and Production 2009 GBO results were up in all mid-sized Asian

markets for which 2009 data were available. Taiwan, representing the largest Asian market in terms of GBO behind Japan, China, South Korea and India, saw its GBO rising by 13.4% to USD 172.3 million, followed by Hong Kong (+8.3%; USD 152 mil- lion), Singapore (+9.8%; USD 115 million) and Malaysia (+5.9%; USD 114 million). It was gen- erally US blockbusters driving market growth in these territories, with national market shares down in Hong Kong (decreasing from 23% to 21%), Taiwan (from 12% to 2.3%), Singapore (from 9% to 3.8%) and only Malaysian fi lms able to increase their market share from 12% to 13.7%. On the production side, there is growing discussion of interdependence within Asian cinema and the growing importance of co-productions, particu- larly among China, Hong Kong and Taiwan.

3D and Digital Cinema

Though at the fore-front of digital roll-out in its early years, Asia has been lagging behind North America and Europe in the last couple of years.

Generally the lack of regional third-party integra- tors and the comparatively small size of cinema circuits have impeded large-scale roll-out. Some hope that digitisation is going to accelerate with the arrival of high-profi le 3D blockbusters. However, in territories with a traditionally high national market share, the development of local 3D fi lms will have to play an important role in truly driving digital conversion. According to Screen Digest the number of digital 3D screens increased from 344 in 2008 to 1 584 screens throughout Asia in 2009. 3D screens accounted thereby for about 45% of the total digital screen base of more than 3 500 screens in the region, the vast majority of which were installed in China, Japan and South Korea. In many other Asian territories exhibitors are cautious about the economics of digital con- version with many consumers not being able to afford multiplex ticket prices, let alone 3D pre- mium prices, instead turning to pirated 2D ver- sions of 3D films. Hong Kong, however, went ahead, warmly embracing the format with around 80 (40%) of its total 201 screens being equipped with 3D projection systems by March 2010.

Sources: Screen International, MPIA, FINAS, Taiwan Cinema, Screen Digest, OBS

People’s Republic of China

Population 2009 e 1 334.3 million GDP per capita 2009 e 3 622 USD Gross box offi ce 2009 (million) 6 200 M CNY (906.3 M USD) Admissions 2009 e 217.8 million Average ticket price 2009 28.5 CNY (4.16 USD) Average admissions per capita 2009 0.16 Modern screens 2008 | 2009 4 097 | 4 723 Digital screens June 2009 | 2009 1 195 | 1 800 3D screens 2008 | 2009 110 | 750 Film VOD services 2008 | 2009 ~ | ~

Market shares 2009

Admissions and gross box offi ce | 2005-2009

Sources: SARFT, Screen International, Screen Digest, OBS

Number of feature fi lms produced and released in China | 2005-2009

Sources: SARFT, Screen Digest, Screen International, CMM Intelligence

Others 43.4%

National 56.6%

Feature fi lms produced

Feature fi lms released e

Admissions (millions) e

Gross box offi ce (CNY million)

People’s Republic of China

Original title Country of origin Director Distributor

Gross box offi ce (in USD million)

1 2012 US/CA Roland Emmerich China Film Group (CFG) 67,5 2 Transformers: Revenge of the Fallen US Michael Bay Huaxia Film/CFG 63,0 3 Jian… (Founding of a Republic) CN S. Han, J. Huang China Film Group 61,5 4 Chi bi xia: Jue zhan… (Red Cliff II) CN John Woo China Film Group 37,9 5 San… (A Simple Noodle Story) CN Yimou Zhang China Film Group 34,0 6 Shi… (Bodyguards and Assassins) CN/HK Teddy Chan Polybona Film/CFG 30,5 7 Nanjing!… (City of Life and Death) CN/HK Chuan Lu China Film Group 25,2 8 Feng sheng (The Message) CN K. Chen, Q. Gao Huayi Bros./Taihe Invest. 32,8 9 Harry Potter and the Half-Blood Prince GB inc/US David Yates ~ 23,0

10 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier China Film Group 22,8 Sources: Screen International, OBS

Top 10 fi lms by gross box offi ce in China | 2009

Distribution and Exhibition Primarily driven by a surge in new cinema

screens, 2009 gross box offi ce revenue grew to CNY 6.2 billion (USD 910 million). This repre- sents a 44% increase year-on-year and the highest growth rate in six years during which China has seen its box offi ce rising by more than 30% per year on average. This impressive growth in box offi ce is primarily attributed to the higher number of modern screens, up by 626 to 4 723 screens in 2009, primarily in multiplexes in major cities. The increasing screen base has led to Chinese GBO records falling on a regular basis. Previously held by Titanic (CNY 360 million) since 1998, it fi rst was broken by the Transformers sequel in mid-2009, only to be broken a couple of months later by 2012 and fi nally Avatar in early 2010. In August 2009 a World Trade Organization ruling ordered China to stop forcing US content owners to use government-controlled distribution com- panies. It did not, however, address China’s import quotas including an annual quota of 20 revenue- sharing fi lms and another 30-40 fi lms which can be distributed on a fl at-fee basis. China’s appeal on this ruling was rejected by the WTO in December 2009. Earlier on this year China’s State Council reiterated a 2002 rule limiting the distribution of foreign fi lms to one-third of total cinema screen time. China’s growth trend is likely to continue with the State Administration of Radio Film And Television (SARFT) considering building screens in small and medium-sized cities as well as bringing ticket prices more in line with average incomes.

Digital Cinema Thanks to public support, digital cinema rollout

picked up speed in 2009, with about 1 800 DCI compliant digital screens operational by the end of year, 1 000 screens up from 2008. According

to China Film Group there were about 750 3D screens. This makes China by far the second largest territory in terms of digital cinema, ranking only behind the US. By November 2009 a total of 102 films had been released in digital format grossing a combined USD 167 million. This com- pares to 62 digital fi lms in 2008 grossing USD 76 million. In its efforts to support digital cinema SARFT granted China Film Digital in 2008 special approval to import 3D fi lms outside of the annual 20 quota. China Film Digital was reported to have planned the import of fi ve fi lms for 3D-only release in 2009 including Up, Ice Age: Dawn of the Dinosaurs, Monsters vs. Aliens and Fly me to the Moon.

Production Feature fi ction fi lm production increased to

456 productions in 2009, up 50 fi lms from 2008. Led by The Founding of a Republic, by far the most successful Chinese fi lm of all time, national fi lms captured a market share of about 57%, down from 61% in 2008. In order to fi nance high budget blockbusters and improve the export of Chinese fi lms, co-productions, particularly with Hong Kong and Taiwan, could become increasingly impor- tant for the Chinese fi lm landscape. Also, in what appears to be a major change, large production companies are encouraged to look for funding via the stock markets, thus opening up to foreign capital. Huayi Bros, for example, intends to raise USD 91 million from an IPO on the Shenzhen Stock Exchange’s ChiNext, China Film Group plans to get listed in the fi rst half of 2010 and Beijing Polybona intends to go public in the US in 2011.

Sources: SARFT, Screen International, Variety, Beijing Review, The Hollywood Reporter,

Screen Digest, CMM Intelligence

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Japan

Population 2009 e 127.6 million GDP per capita 2009 e 39 116 USD Gross box offi ce 2009 (billion) 206.0 bn JPY (2.2 bn USD) Admissions 2009 e 169.3 million Average ticket price 2009 1 217 JPY (13.00 USD) Average admissions per capita 2009 1.3 Screens 2008 | 2009 3 359 | 3 396 Screens in Multiplexes 2008 | 2009 e 79% | 80% Digital screens June 2008 | June 2009 94 | 229

Market shares 2009

Admissions and gross box offi ce | 2005-2009

Source: EIREN

Gross box offi ce (JPY billion)

Admissions (millions)

Number of fi lms released in Japan | 2005-2009

Source: EIREN

Total

National fi lms

Imported fi lms

Others 43.1%

National 56.9%

Japan

Top 20 fi lms by admissions in Japan | 2009 e

Estimated admissions based on average ticket price of JPY 1 217.

Sources: EIREN, OBS

Original title Country of origin Director Distributor Admissions e

1 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 7 025 472 2 Rookies: Sotsugyô JP Yûichirô Hirakawa Toho 6 573 541 3 Chi bi xia: Jue zhan… (Red Cliff II) CN John Woo Toho-Towa/Avex 4 560 394 4 This Is It US Kenny Ortega Sony Pictures Ent. 4 272 802 5 Pokémon: Arceus and the Jewel of Life JP Kunihiko Yuyama Toho 3 837 305 6 20-seiki… (20th Century Boys 3) JP Yukihiko Tsutsumi Toho 3 623 665 7 Evangelion: 2.0 You Can (Not)Advance JP Masayuki, Tsurumaki Klock Worx 3 286 771 8 Wall-E US Andrew Stanton Walt Disney 3 286 771 9 2012 US/CA Roland Emmerich Sony Pictures Ent. 3 122 432

10 Amarufi : Megami no hôshû (Amalfi ) JP Hiroshi Nishitani Toho 2 999 178 11 Detective Conan: The Raven Chaser JP Taiichiro Yamamoto Toho 2 875 924 12 Gokusen: The Movie JP Toya Sato Toho 2 859 491 14 Angels & Demons US Ron Howard Sony Pictures Ent. 2 728 020 15 Terminator Salvation US McG Sony Pictures Ent. 2 728 020 13 Yomei 1-kagetsu no… (April Bride) JP Ryuichi Hiroki Toho 2 588 332 18 Yattâman (Yatterman) JP Takashi Miike Shochiku/Nikkatsu 2 580 115 16 Kurôzu zero II (Crows II) JP Takashi Miike Toho 2 506 163 19 20-seiki… (20th Century Boys 2) JP Yukihiko Tsutsumi Toho 2 481 512 17 Shizumanu taiyô (The Unbroken) JP Setsurô Wakamatsu Toho 2 473 295 20 Mamma Mia! US/GB inc/DE Phyllida Lloyd Toho 2 300 740

Distribution and Exhibition Japanese box offi ce grew by 5.7% to JPY 206 bil-

lion (USD 2.2 billion) in 2009, hitting the second highest level of all time. Box offi ce growth was principally due to an exceptional 5.5% increase in admissions up almost 9 million. Despite a signifi - cant drop in the number of foreign fi lms released and a surge in local fi lm releases, national market share dropped from its 2008 record share of 59.5% to 56.9%, hinting at an increasing polarization between a limited number of big local blockbusters and a large number of small-scale fi lms struggling to recoup their investments. This causes an ever widening gap between a few top tier distribu- tors like Toho and dozens of mid- and small sized distributors struggling to survive. This develop- ment is closely linked to the market dominance of multiplex cinemas, accounting for 80% of total screens and giving more screen space to popular titles. Market access for foreign fi lms, particularly independent fi lms, has become increasingly diffi - cult with the number of international titles falling dramatically from 388 in 2008 to 314. This is due to a shift in audience taste towards local block- busters and away from foreign fi lms, particularly small and mid-budget titles, leading to an overall decrease in acquisitions and contributing to a crisis in the country’s independent distribution sector

which saw several players such as Movie-Eye, Wise Policy, Rumble Fish and Xanadeux go bankrupt in 2009. These diffi culties have been compounded by the dramatic decrease of the video market which had been a vital revenue source for many smaller distributors.

Production With 448 national productions released in 2009,

Japan’s production activity reached its highest level since the late 1960s-development which some regard as a Japanese fi lm bubble. 2009 saw another year of fi lms based on familiar content such as TV series and manga adaptations domi- nating the box offi ce, with three of these fi lms, baseball drama Rookies and the latest instalments of Pokémon and 20th Century Boys, becoming the three most successful Japanese fi lms in 2009. In what could be regarded as a specifi c character- istic of the Japanese fi lm industry, the involve- ment of a TV network and its cross-promotion activities have become an essential factor for the box offi ce and video success of a fi lm. Just as in distribution, a widening gap between major and smaller producers can be observed.

Sources: EIREN, UNIJAPAN – The Guide to Japanese Film Industry & Co-production,

Screen International, Variety

India

Distribution and Exhibition Though reliable recent fi gures on the Indian

fi lm industry are virtually unavailable, it is fair to assume that 2009 proved to be a diffi cult year for the Indian box offi ce. A two-month dispute between Indian producers with multiplex chains blacked out Indian multiplex screens at the beginning of April, with producers refusing to release any big fi lms until their demands for higher revenue-sharing agree- ments were met in early June. Multiplex opera- tors fi nally agreed on a 50:50 split regardless of cast or budget in the fi rst week of a fi lm’s release. Nevertheless it seems unlikely that multiplexes, which – depending on the source – account for something between 50% and 70% of India’s box office, were able to compensate in the second half of the year for the loss in admissions during the strike, with 2009 markets further negatively affected by swine fl u and piracy. This assumption is backed by the Federation of Indian Chambers of Commerce and Industry reporting that in 2009 the total fi lmed entertainment revenues decreased by 19% from INR 109 billion (USD 2.4 billion) in 2008 to INR 89 billion (USD 2 billion). A report commissioned by the Motion Picture Distributors Association estimated India’s total GBO at USD 1.8 bil- lion for the fi nancial year 2008/09. However, future

box offi ce growth should be ensured thanks to a surge of new multiplex screens announced by var- ious old and new players. National fi lms took a market share of 92% in 2008. There were a total of 115 DCI-compliant digital screens operational in India by mid-2009.

Production With a total of 819 Indian feature fi lms in 21 lan-

guages certifi ed in 2009, India’s production levels dropped signifi cantly from 1 132 in 2008 but the country remains the fi lm industry with the highest production output in the world. Films in Hindi accounted for 20% of total output, followed by Telugu and Tamil fi lms accounting for 17% and 14% respectively. The two month strike in the fi rst half of 2009 created a bottleneck for screen space in multiplexes for the increased number of fi lm releases scheduled for the second half of the year, making it more diffi cult for fi lms to reach their full potential and intensifying the problems of many local fi lms to recoup their costs, which have risen signifi cantly in recent years.

Sources: FICCI, Screen International, Variety, Screen Digest, Screenindia

Market shares 2008

National 92.0%

Others 8.0%

Population 2009 e 1 207 million GDP per capita 2009 e 982 USD Gross box offi ce 2008 (billion) 80.54 bn INR (1.86 bn USD) Admissions 2008 2.9 billion Average ticket price 2008 27.7 INR (0.57 USD) Average admissions per capita 2008 2.41 Screens 2008 | 2009 10 120 | ~ Digital screens 2008 | June 2009 112 | 115 3D screens 2008 | 2009 ~ | 50

Sources: IBOS network, IMDB, OBS

Top 10 Hindi fi lms by net box offi ce in India | 2009 e

GBO in USD million calculated using an average exchange rate of 48.85 INR.

Original title Country of origin Director Distributor

Net box offi ce (in USD million) e

1 3 Idiots IN Rajkumar Hirani Reliance Big Pictures 53.12 2 Ajab Prem Ki Ghazab Kahani IN Rajkumar Santoshi Shemaroo 18.54 3 Love Aaj Kal IN Imtiaz Ali Eros International 15.59 4 Wanted (2009) IN Prabhu Deva ~ 15.23 5 De Dana Dan IN Priyadarshan Venus 13.22 6 Kambakkht Ishq IN Sabir Khan Eros International 12.89 7 Paa (2009) IN R. Balki, Ricky Sandhu Reliance Big Pictures 12.61 8 All the Best: Fun Begins IN Rohit Shetty ~ 12.29 9 Kaminey IN Vishal Bhardwaj ~ 12.23

10 New York IN Kabir Khan Yash Raj Films 10.91

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South Korea

Source: KOFIC

Distribution and Exhibition Thanks principally to local fi lms, admissions

increased by 4% to 156.8 million tickets sold, the second best result after the record year of 2007. Supported by an increase in ticket prices GBO increased by 11.6%, amounting to KRW 979 bil- lion (USD 888 million). An increase in standard ticket prices was implemented by major exhibition chains in summer 2009, raising standard prices by KRW 1 000, up 14%, and this marks the fi rst price increase in eight year according to exhibi- tors. With theatrical box offi ce accounting for about 70% to 80% of the Korean fi lm industry’s total revenue – as DVD, ancillary markets and fi lm exports are struggling – the move was regarded as an important factor in increasing the profi tability of the local fi lm industry. In contrast to Europe, US 3D blockbusters did not appear to be a major driving force of the market in 2009. This role was reserved for Korean fi lms, which saw admissions rising by an impressive 19% year-on-year, claiming a market share of 48.8%, cautiously easing their way back to the levels of the golden years between 2003 and 2006. Admissions to all foreign fi lms decreased signifi cantly. A total of 361 feature fi lms were released in 2009, including 142 US and 118 Korean releases. Distributor CJ Entertainment kept its market leading position with a market

share of 29%, followed by Showbox / Mediaplex (15%) and Lotte Entertainment (12%). By the end of 2009 about 29% of the country’s screen base had been converted to digital projection (571 screens), including 129 3D screens.

Production and Funding After falling for the fi rst time in many years

in 2008, Korean production levels reached a new record high of 138 fi lms in 2009, 25 fi lms more in 2008. It remains to be seen whether, backed by the positive 2009 box offi ce results, the Korean fi lm industry will be able to return to making profi ts after having experienced negative earning rates for three consecutive years: 2006 (-28.4%), 2007 (-40.5%) and 2008 (-24.5%), pushing the local industry into a crisis. In November 2009 KOFIC presented a plan for reform, plan- ning to merge departments and turn several advance fi nancing programmes into “after-the- fact” rebates, i.e. awarding completed fi lms rather than giving out pre-production funding. Earlier on this year KOFIC announced that it was increasing its support budget for the local 3D industry, particu- larly for training 3D professionals in the areas of fi lm, games and animation.

Sources: Korean Film Council (KOFIC), Screen International, Screen Digest

Market shares 2009

Others 51.2%

National 48.8%

Population 2009 e 48.7 million GDP per capita 2009 e 14 946 USD Gross box offi ce 2009 10 928 bn KRW (854.4 M USD) Admissions 2009 156.8 million Average ticket price 2009 6 970 KRW Average admissions per capita 2009 3.22 Screens 2008 | 2009 2 004 | 1 996 Digital screens 2008 | 2009 324 | 571 3D screens 2008 | 2009 ~ | 129

Top 10 fi lms by admissions in South Korea | 2009

Original title Country of origin Director Distributor Admissions

1 Haeundae KR Je-gyun Yun CJ Entertainment 11 325 228 2 Gukga daepyo (Take off) KR Yong-hwa Kim Showbox/Mediaplex 8 392 953 3 Transformers: Revenge of the Fallen US Michael Bay CJ Entertainment 7 394 025 4 2012 US/CA Roland Emmerich Sony Pictures Releasing 5 374 975 5 Avatar US/GB James Cameron 20th Century Fox 5 111 742 6 Terminator Salvation US McG Lotte Entertainment 4 500 912 7 Chilgeup… (My Girlfriend is…) KR Terra Shin Lotte Entertainment 4 043 064 8 Kwasok scandle (Scandal Makers) KR Hyeong-Cheol Kang Lotte Entertainment 3 848 813 9 Ssang-hwa-jeom (A Frozen Flower) KR Ha Yu Showbox/Mediaplex 3 291 708

10 Geobugi dallinda (Running Turtle) KR Yeon-woo Lee Showbox/Mediaplex 3 025 586

Africa

Admissions in selected African countries | 2004-2008 In millions.

Sources: Screen Digest, Euromed, CCM, Les cahiers du cinéma

Number of feature fi lms produced in selected African countries | 2005-2009

Sources: Dubai International Film Festival, Screen Digest

South Africa e Egypt e

Tunisia Morocco South Africa

Egypt

Morocco e

Algeria Egypt Morocco South Africa Tunisia

Population 2009 e (millions) 35.3 76.5 31.9 49.2 10.4 GDP per capita 2009 e (USD) 3 640.5 2 456.8 2 655.2 4 943.2 3 812.9 Gross box offi ce 2009 (million USD) e 0.02 54.9 8.5 52.3 (1) ~ Admissions 2009 e (millions) 0.03 25.6 3.0 26.1 (1) ~ Average ticket price 2009 (in USD) e 0.00 0.34 0.09 0.54 (1) ~ Average admissions per capita 2009 e 1.33 4.57 2.35 2.00 (1) 2.32 Screens 2009 e 19 400 74 836 (1) 18 Digital screens 2009 e ~ 3 ~ 11 (1) 3 National market shares 2008 e ~ 80% 15% ~ ~ (1) 2008 Sources: Dubai International Film Festival, Screen Digest, Variety, Euromed

Africa

A continent with two types of fi lm industries

A structured fi lm industry based on existing networks of production studios, distribution and exhibitions chains comparable to international fi lm industries can only be found in South-Africa and Egypt with about 26 million cinema tickets sold a year, as well as in Morocco with about 3 million admissions per year. Despite having reduced its fi lm output from 100 fi lms to about 35 fi lms a year, Egypt remains the hub of Arabic- language fi lm production, distributing its fi lms into the entire Arab world. Budgets range from USD 1.3 to 5.5 million. Supported by distribu- tion limitations for foreign fi lms (maximum of 8 prints per title) national market share is about 80%. Thanks to public support the Moroccan fi lm industry has seen signifi cant uplift both in terms

of rising production volumes as well as increasing national market share, with Moroccan fi lms ranking second right after US fi lms in 2009.

On the other hand, there is a video-based fi lm industry which has been thriving in many African countries in recent years and has become a defi ning part of audiovisual culture. It is char- acterized by low-budget, high-volume fi lm pro- ductions distributed primarily via VHS, DVD and TV networks across all of Africa. Inspired by ‘Nollywood’, Nigeria’s fi lm industry producing up to 1 000 fi lms and more each year with average budgets traditionally ranging between USD 5 000 to 10 000, other African countries like Kenya and Ghana are increasingly producing low-budget fi lms focussing on local themes.

Sources: African Film and TV Yearbook and Directory, Dubai International Film Festival,

THR Intelligence, Nielsen Egypt, Variety

Top 5 foreign fi lms by admissions in Egypt (1) | 2009

Top 5 Arabic fi lms distributed by The United Artist Group by admissions in Egypt (1) | 2009 Estimated admissions based on average ticket price of USD 4.57.

Top 10 fi lms by admissions in Morocco (1) | 2009

Original title Country of origin Director Distributor Admissions

1 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros.UMP 80 559 2 The Curious Case of Benjamin Button US David Fincher Warner Bros.UMP 76 045 3 Transformers: Revenge of the Fallen US Michael Bay Paramount/4 Star 68 271 4 Night at the Museum: Battle of the… US/CA Shawn Levy Fox/UMP 62 139 5 Twilight US Catherine Hardwicke Universal/4 Star 60 224

Original title Country of origin Director Distributor Admissions e

1 Ramadan Mabrouk Abu Almaien… EG Wael Ehsan United Art. Group 1 390 250 2 Omar wa Salma 2 EG Ahmed Al badri United Art. Group 949 048 3 Alf Mabrouk EG Ahmad Nader Jalal United Art. Group 797 695 4 Bobos EG Wael Ehsan United Art. Group 743 401 5 Ibrahim Al Abiad EG Marwan Ahmed United Art. Group 619 664

Original title Country of origin Director Distributor Admissions e

1 Fast and Furious 4 US Justin Lin UIP 413 032 2 Casanegra MA Nour Eddine Lakhmari Sigma Production 207 082 3 Amours voilées MA Aziz Salmy Films de Cléopâtre 176 786 4 Ex Chamkar MA Mahmoud Fritès ~ 108 440 5 Coco FR Gad Elmaleh 54 146 6 Number One MA Zakia Tahri ~ 27 410 7 Night at the Museum: Battle of the… US/CA Shawn Levy 20th Century Fox 26 823 8 Cabaret EG Sameh Abdel-Aziz ~ 24 888 9 Harry Potter and the Half-Blood Prince GB inc/US David Yates Warner Bros. 22 492

10 Angels & Demons US Ron Howard Sony 20 052

(1) as of 7 October 2009. Sources: Dubai International Film Festival, THR Internatinational, Nielsen EDI, OBS

(1) as of 13 October 2009. The United Artists Sources: Dubai International Film Festival, Group accounts for 45-50% of the total market. THR International, Nielsen EDI, OBS

(1) as of 31 October 2009. Sources: Dubai International Film Festival, IMDB

Middle East

Admissions in selected Middle Eastern countries | 2004-2008 In millions.

Sources: Dubai International Film Festival, Screen Digest, Israel Film Fund

Screens in selected Middle Eastern countries | 2005-2009

Sources: Dubai International Film Festival, Screen Digest

United Arab Emirates e

Lebanon

Lebanon e

Israel e

Kuwait e

Bahrain Qatar Jordan

Israel e

United Arab Emirates

Bahrain Israel Kuwait Lebanon Qatar United Arab

Emirates Population 2009 e (millions) 0.8 7.3 3.5 3.8 1.2 4.9 GDP per capita 2009 e (USD) 22 809 28 081 30 041 8 132 81 861 43 857 Gross box offi ce 2008 (million USD) 16.9 105.8 19.8 12.2 13.0 74.2 Admissions 2008 e (millions) 2.2 10.0 2.2 2.0 1.5 8.8 Admissions per capita 2008 2.8 1.4 0.7 0.5 1.3 1.8 Average ticket price 2009 (USD) e 7.95 10.58 9.5 6.65 8.85 (1) 8.5 (1)

Screens 2009 e 52 380 (1) 57 80 37 236 Digital screens 2009 e 1 14 (1) 10 12 ~ 3 National market shares 2008 e ~ 12% ~ ~ ~ ~ (1) 2008 Sources: Dubai International Film Festival, Screen Digest

Middle East

Israel With an estimated 10 million admissions, GBO

of USD 85 million and some 380 screens, Israel represents the largest cinema market in the region for which data are available. With some 14 to 18 entirely national feature fi lms, 3 to 5 interna- tional fi ction co-productions and 5 to 10 feature documentaries a year Israel is also a prolifi c fi lm producer in the region. The average budget ranges from USD 500 000 to 1 million.

Gulf Co-operation Council (GCC) With a box offi ce of about USD 74 million and

8.75 million admissions in 2008, the United Arab Emirates (UAE) represent the largest fi lm market among the GCC. In comparison, Kuwait and Bahrain registered about 2.2 million admissions in 2008, while about 1.5 million cinema tickets were sold in Qatar. Throughout the region US fi lms tend to dominate the local box offi ce, especially in the UAE and Kuwait, while Arabic – mostly Egyptian – movies gained high market shares in Bahrain and Qatar. With 236 screens the UAE accounts for about 62% of the region’s estimated total of 382 screens. However in terms of digital cinema, Kuwait is leading

the way with 10 digital screens out of its total screen base of 57. The past two years have seen signifi cant efforts to boost the region’s fi lm industry with Abu Dhabi launching TwoFour54,a multimedia park with production facilities, and its production arm Imagenation closing three major fi nancing deals as well as Qatari media group Alnoor launching a USD 200 million fi lm fund in late 2009.

Levant The Levant cinema markets are signifi cantly

smaller with Jordan, the Palestinian Territories and Syria staying well below the 1 million admissions mark, which is only crossed by Lebanon with some 2 million cinema tickets sold in 2008. As in the GCC, US and Egyptian fi lms dominate the mar- kets. In terms of local production activity Palestine leads the way with 13 feature fi lms in 2009, all of which are international co-productions, while Syria and Lebanon produce about 3 feature fi lms a year. Lebanon accounts for 80 out of the Levant’s estimated 149 screens and is at the forefront of digital cinema in the region with 12 digital screens by the end of 2009.

Sources: Dubai International Film Festival, THR Intelligence, Nielsen Egypt, Variety, Screen International

Top 10 fi lms by admissions in the United Arab Emirates (1) | 2009

Top 10 fi lms by admissions in Bahrain (1) | 2009

Original title Country of origin Director Distributor Admissions

1 Transformers: Revenge of the Fallen US Michael Bay UIP 260 894 2 Fast & Furious 4 US Justin Lin UIP 525 021 3 Terminator Salvation US McG Gulf Film 185 957 4 Harry Potter and the Half-Blood Prince GB inc/US David Yates Fox 164 392 5 Ice Age: Dawn of the Dinosaurs US Saldanha, Thurmeier Warner. Bros. 170 552 6 Slumdog Millionaire GB D. Boyle, L. Tandan Gulf Film 157 386 7 G.I. Joe: The Rise of the Cobra US/CZ Stephen Sommers UIP 144 946 8 Angels & Demons US Ron Howard COL 127 079 9 Alf Mabrouk EG Ahmad Nader Jalal Gulf Film 124 176

10 Night at the Museum: Battle of the… US/CA Shawn Levy Fox 123 734

Original title Country of origin Director Distributor Admissions

1 Omar wa Salma 2 EG Ahmed Al badri Gulf Film 61 849 2 Fast & Furious 4 US Justin Lin Gulf Film 49 558 3 Asif Ala El Ezaaj EG Khale Maraay Gulf Film 42 165 4 Al Dada Doudy EG Ali Edrees Gulf Film 36 058 5 Race to Witch Mountain US Andy Fickman ~ 35 787 6 Ramadan Mabrouk Abu Al Almaien… EG Wael Ehsan Gulf Film 33 836 7 Transformers: Revenge of the Fallen US Michael Bay Gulf Film 33 313 8 Harry Potter and the Half-Blood Prince GB inc/US David Yates Shooting Stars 27 632 9 Sokkan Shehata EG Khaled Youssef Gulf Film 26 277

10 Terminator Salvation US McG Gulf Film 26 277

(1) as of 7 September 2009. Sources: Dubai International Film Festival, THR Intelligence, Nielsen EDI

(1) as of 3 October 2009. Sources: Dubai International Film Festival, THR Intelligence, Nielsen EDI

ANICA IT www.anica.it Audiovisual Information Centre SK www.aic.sk Boxoffi ce.pl PL www.boxoffi ce.pl Canadian Film and Television Prod. Assoc. (CFTPA) CA www.cftpa.ca Carlton Screen Advertising (CAA) IE www.carltonscreen.ie Centre national de l’audiovisuel (CNA) LU www.cna.public.lu Centro Studi ed Analisi di Cinecittà Holding (CCH) IT www.cinecitta.com/holding/societa/index.asp?id=15 Centrul National al Cinematografi ei (CNC) RO www.cncinema.abt.ro/ Cinetel IT www.cinetel.it CMM Intelligence CN www.cmmintelligence.com CNC FR www.cnc.fr Czech Film Center CZ www.fi lmcenter.cz Danish Film Institute (DFI) DK www.dfi .dk Digital Cinema Media GB www.dcm.co.uk Dubai International Film Festival AE www.dubaifi lmfest.com EIREN Motion Picture Association of Japan JP www.eiren.org Estonian Film Foundation (EFSA) EE www.efsa.ee Fachverband der Audiovisions- und Filmindustrie AT www.fafo.at FFA DE www.ffa.de Film og Kino NO www.fi lmweb.no/fi lmogkino Filmski Sklad Republike Slovenije (FSRS) SI www.fi lm-sklad.si Finnish Film Foundation (FFF) FI www.ses.fi Fundación del Nuevo Cine Latinoamericano CU www.cinelatinoamericano.org Greek Film Center GR www.gfc.gr Hagstofa Islands (HI) IS www.statice.is Hrvatski audiovizualni centar (HAVCR) HR www.havcr.hr IBOS Network IN www.ibosnetwork.com ICAA ES www.mcu.es/cine/index.html Instituto do Cinema e do Audiovisual (ICA) PT www.ica-ip.pt Irish Film Board (IFB) IE www.irishfi lmboard.ie Korean Film Council (KOFIC) KR www.koreanfi lm.or.kr Le fi lm français FR www.lefi lmfrancais.com MEDIA Salles IT www.mediasalles.it Ministry of Culture CZ www.mkcr.cz Moniteur du fi lm en Belgique (MFB) BE MPAA US www.mpaa.org National Film Center (NFC) BG www.nfc.bg National Film Centre (NFC) LV www.nfc.lv National Film Development Corp. of Malaysia (FINAS) MY www.fi nas.gov.my National Film Offi ce (NFO) HU www.nemzetifi lmiroda.hu Nederlands Fonds voor de Film (NFF) NL www.fi lmfund.nl NFC (NVB - NVF) NL www.nfcstatistiek.nl Norsk Filminstitutt (NFF) NO www.nfi .no Observatoire de la culture du Québec CA www.stat.gouv.qc.ca/observatoire/default.htm Observatorio del Cine y el Audiovisual Latinoamericano CU www.cinelatinoamericano.org/estudios2.aspx?cod=92 Offi ce fédéral de la statistique (OFS) CH www.admin.ch/bfs Österreichisches Filminstitut (ÖFI) AT www.fi lminstitut.at Polish Film Institute (PISF) PL www.pisf.pl Russian Film Business Today (RFBT) RU www.kinobusiness.com SARFT CN www.sarft.gov.cn Screen Australia AU www.screenaustralia.gov.au Screen Digest GB www.screendigest.com Screen International GB www.screendaily.com Service Général de l’audiovisuel et des multimedias (SGA) BE www.audiovisuel.cfwb.be Sinema Gazetesi TR Singapore Film Commission SG www.sfc.org.sg Slovak Film Insitute (SKFI) SK www.sfu.sk SMAIS IS www.smais.is SPIO DE www.spio.de Swedish Film Institute (SFI) SE www.sfi .se Taiwan Cinema TW www.taiwancinema.com UK Film Council (UKFC) GB www.ukfi lmcouncil.org.uk Unie Filmovych Distributoru (UFD) CZ www.ufd.cz Variety www.variety.com

Sources FOCUS 2010 was prepared by the European Audiovisual Observatory. We would like to thank the following sources:

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HELSINKI 06.30

Information services for the audiovisual sector

Come and see us on our stand: A6, Riviera Section Marché du Film. Stand telephone: +33 ( 0 ) 4 92 99 33 17

www.obs.coe.int

15.00 - 16.30, Sunday 16th May, 2010

Salle Buñuel, 5th floor, Palais des Festivals

for all market or festival accrediteesentry free

is part of

European Audiovisual Observatory

Digital Cinema Tango! Getting the right rhythm for the digitisation of European cinemas.

workshop