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MARCHÉ DU FILM 2019 FOCUS WORLD FILM MARKET TRENDS TENDANCES DU MARCHÉ MONDIAL DU FILM

Observatoire européen de l’audiovisuel European Audiovisual Observatory Europäische Audiovisuelle Informationsstelle

MARCHÉ DU FILM

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and more than 1300 registered programmers attending!

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MDFlovesFESTIVALS_MDF2019-155x240_AUTOPUB.indd 1 26/04/2019 15:50

focus 2019 World Film Market Trends Tendances du marché mondial du film

ISSN: 1962-4530

Imprimé sur papier labelisé issu de forêts gérées durablement. Printed on paper from sustainably managed forests.

Imprimé sur papier labélisé issu de forêts gérées durablement. Printed on paper from sustainably managed forests.

Pages Pub int Focus 2010:Pub Focus 29/04/10 10:54 Page 1

The European Audiovisual Observatory, set up in 1992, is a public-service body whose mission is to supply information services (concerning film, televi- sion, home video, on demand audiovisual services as well as related public policies) to the audiovisual industry in Europe. The Observatory has 41 member countries, along with the European Union represent- ed by the European Commission. The Observatory is part of the Council of Europe and located in Stras- bourg, France. It carries out its mission with the help of a network of partners, correspondents and profes- sional organisations. The Observatory provides infor- mation on markets, financing and legal aspects of the audiovisual sector and edits the “FOCUS, World Film Market Trends”.

➥ http://www.obs.coe.int

Créé en 1992, l’Observatoire européen de l’audio- visuel est un organisme de service public qui a pour mission de proposer des services d’information au secteur audiovisuel en Europe (concernant le cinéma, la télévision, la vidéo, les services audiovisuels à la demande et les politiques publiques afférentes). Il compte actuellement 41 Etats membres, ainsi que l’Union européenne qui est représentée par la Com- mission européenne. L’Observatoire fait partie du Conseil de l’Europe et a son siège à Strasbourg en France. Pour accomplir sa mission, il s’appuie sur un réseau de partenaires, de correspondants et d’orga- nisations professionnelles. L’Observatoire propose des informations relatives aux différents marchés audio- visuels, au financement et aux aspects juridiques du secteur ; il édite aussi FOCUS, Tendances du marché mondial du film.

Editors Martin Kanzler ([email protected]) Patrizia Simone ([email protected]) Film Analysts, Department for Market Information, European Audiovisual Observatory

FOCUS has now been a publication for more than two decades and I am very proud of our long- term relationship with the European Audiovisual Observatory. For the last 60 years the Marché du Film has continued to evolve, while the film industry itself is changing dramatically at the present time. FOCUS remains more than ever an essential refer- ence guide for professional attendees. Not only will it help you grasp the changing practices of the film industry, but it also provides specific infor- mation on production and distribution around the world. Special thanks to Susanne Nikoltchev and her team, with whom we have worked to provide you with invaluable insight into the world of film market trends.

Jérôme Paillard Executive Director Marché du Film

FOCUS est une publication depuis plus de deux décennies et je suis très fier de notre rela- tion de longue date avec l’Observatoire Européen de l’Audiovisuel. Depuis 60 ans, le Marché du Film a connu une évolution ininterrompue, et l’industrie cinématographique elle-même est en plein changement. FOCUS est une référence incon- tournable pour les participants professionnels. Elle vous aidera non seulement à appréhender les pratiques en constante mutation de l’industrie cinématographique, et vous fournira également des informations plus spécifiques sur les secteurs de la production et la distribution dans le monde entier vous offrant une vue d’ensemble exhaustive de l’industrie cinématographique. Nos remercie- ments tous particuliers à Susanne Nikoltchev et à son équipe, avec lesquels nous avons œuvré dans l’espoir de vous fournir des renseignements précieux sur les tendances du Marché du Film.

Jérôme Paillard Directeur Délégué Marché du Film

We are very pleased to collaborate once again with the Marché du Film and we proudly present the 21st edition of FOCUS – World Film Market Trends, which provides an overview of the development of theatrical markets world- wide. The Observatory’s work, however, has an even greater reach also targeting more specific topics. For example, our most recent research into how European films are financed and LUMIERE VOD, our new directory of European films avail- able via on-demand services in Europe. Get our free analyses of the film industry on www.obs. coe.int and discuss our findings with us at our conferences! Our traditional Cannes conference is next (18th May at 9:30) and will address the issue of film financing in Europe. Come and join us in the Olympia Cinema!

Susanne Nikoltchev Executive Director European Audiovisual Observatory

Nous sommes très heureux de notre nouvelle collaboration avec le Marché du Film et fiers de vous présenter la 21e édition du FOCUS – Tendances du marché mondial du film, qui donne un aperçu de la dynamique des marchés du cinéma dans le monde. Les travaux de l’Observatoire ont cepen- dant une portée bien plus grande en ciblant des sujets spécifiques. Il en va ainsi de notre tout dernier rapport sur le financement des films européens ou encore de LUMIERE VOD, le nouveau réper- toire sur les films européens disponibles sur les ser- vices de VOD en Europe. Retrouvez gratuitement nos études sur l’industrie cinématographique sur www.obs.coe.int et venez en débattre avec nous à l’occasion de nos conférences ! La prochaine est celle de Cannes (18 mai à 9h30) et portera sur le financement des films en Europe. Venez nous rejoindre au Cinéma Olympia !

Susanne Nikoltchev Directrice exécutive Observatoire européen de l’audiovisuel

Editorial

LUMIERE VOD - The directory of European fi lms available on on-demand services in Europe http://lumierevod.obs.coe.int

76 Allée de la Robertsau, 67000 Strasbourg, France Tel: +33(0)3 90 21 60 00 Email: [email protected]

http://www.obs.coe.int

Mapping of national rules for the promotion of European works in Europe

IRIS Plus - The promotion of independent audiovisual production

Fiction fi lm fi nancing in Europe

Yearbook 2018/2019 Key Trends

IRIS MERLIN - Database on legal information relevant to the audiovisual sector in Europe http://merlin.obs.coe.int

AVMSDatabase on the transposition of the AVMS Directive into national legislation http://avmsd.obs.coe.int

MAVISE - Database on TV and on-demand audiovisual services and companies in Europe http://mavise.obs.coe.int/

LUMIERE - Database on admissions to fi lms released in Europe http://lumiere.obs.coe.int

EFARN Film Research Library - Studies and data from the European fi lm agencies http://fi lmresearch.eu

Free fl agship publications

Free databases

The European Audiovisual Observatory

A varied range of information products and services

European Audiovisual Observatory Audiovisual Audiovisual Audiovisual Audiovisual Observatory Observatory Observatory

EuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropeanEuropean Audiovisual European Audiovisual Audiovisual Audiovisual Audiovisual Observatory Observatory Observatory

EuropeanEuropean

Observatory Observatory Observatory Observatory Observatory Observatory Observatory Observatory Observatory Observatory Observatory Observatory Observatory Audiovisual Observatory Audiovisual Audiovisual Audiovisual Observatory Audiovisual Observatory Audiovisual Audiovisual Audiovisual Audiovisual Audiovisual Observatory Observatory Observatory

EuropeanEuropeanEuropean

focus 2019 Introduction 7 World 11 Europe European Union 14 France 22 Germany 24 Italy 26 Spain 28 United Kingdom 30 Russian Federation 32 Poland 34 Turkey 35 Other Western Europe 36 Nordic Countries 38 Baltics and Central Europe 40 South-Eastern Europe 41 Americas North America 42 Latin America 44 Australia and New Zealand 48 Asia China 50 Japan 52 India 54 South Korea 56 Other Asia 58 Africa 60 Middle East 62 Sources 64

Contents

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www.marchedufilm.com/en/global-events

DAYS CANNES XR 14 – 19 May - Palais -1, aisle 14

NEXT 14 – 23 May - Palais -1, aisle 18

ANIMATION DAY 19 May - 9:30 - Olympia 1

FANTASTIC FANATICS MIXER 19 May - 18:00 - Plages des Palmes

DOC DAY 21 May - 9:30 - Plage Gray d’Albion - 15:30 - Olympia 1

DOC LOVERS MIXER 21 May - 18:00 - Plages des Palmes

SHOOT THE BOOK 21 May - 10:30 - Palais +4, Ambassadeurs

FESTIVALS & SALES AGENTS MIXER 22 May - 18:00 - Plages des Palmes

MOST INSPIRING

THE

MOST_INSPIRING_DAYS_MDF2019-150x240_AUTOPUB.indd 1 26/04/2019 14:31

Introduction

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www.marchedufilm.com/en/global-events

DAYS CANNES XR 14 – 19 May - Palais -1, aisle 14

NEXT 14 – 23 May - Palais -1, aisle 18

ANIMATION DAY 19 May - 9:30 - Olympia 1

FANTASTIC FANATICS MIXER 19 May - 18:00 - Plages des Palmes

DOC DAY 21 May - 9:30 - Plage Gray d’Albion - 15:30 - Olympia 1

DOC LOVERS MIXER 21 May - 18:00 - Plages des Palmes

SHOOT THE BOOK 21 May - 10:30 - Palais +4, Ambassadeurs

FESTIVALS & SALES AGENTS MIXER 22 May - 18:00 - Plages des Palmes

MOST INSPIRING

THE

MOST_INSPIRING_DAYS_MDF2019-150x240_AUTOPUB.indd 1 26/04/2019 14:31

Analysing film financing

The Observatory published the first ever analysis of over 400 European fiction film financing plans. Key takeaways include the diversity of the film production landscape in terms of budgets and the influence of market size; the variety of financing sources, with the lead role played by direct public support; the key role of pre-sales, especially for higher- budget films; the widespread involvement of broadcasters; the still limited use of private equity and debt financing, and even more notably the heterogeneity of national land- scapes as regards the film financing structure.

Mapping the systems to promote European works

One of the key factors accounting for the differences between the film financing struc- tures in Europe is obviously the legal frame- work for the promotion of European films and audio visual programmes. The Observatory mapped the national legal frameworks for the promotion of European works in 31 European countries – a project entrusted to us by the association of European Film Agencies Directors (EFADs). The report proposes an invaluable and detailed analysis of existing financial investment obligations, levies and means of promotion through quotas and promi- nence obligations.

Assessing international cooperation

Co-production is one of the ways to improve the circulation of films. Figures suggest that the number of co-productions is increasing, that they perform better in cinemas, and that they are more widely available, even beyond the majority co-producing country. The Observatory report on “The legal frame- work for international co-productions” pro- vides a comprehensive overview of interna- tional funds and bilateral and multilateral agreements as well as a checklist of points to be included in any watertight co-produc- tion contract.

The Observatory also provides revolving figures on how European films get exported – both inside and outside Europe. This year’s analysis shows that about half of the export admissions to European films originate from outside Europe.

Computing VOD in the equation

Video-On-Demand is often heralded as a game changer for the exploitation of films – and maybe also their financing. The Observatory tackles the issues from different angles. We recently published a short anal- ysis on how recent European films make it to VOD. The conclusion was ambivalent: on the one hand, a relatively high share (62%) of

As usual, this 2019 edition of the Film Focus provides a worldwide picture of the production, distribution and exploitation of films. This flagship publication of the Observatory for the Marché du Film de Cannes is one of the many ways we provide essential and unbiased information and data on the audiovisual sector. Some other recent film-related projects highlight our aim to contribute to better informed decisions.

Introduction

Breakdown of cumulative sample financing volume of European live-action fiction films released in 2016 In %.

Financial investment obligations for public service broadcasters in independent European works | 2019 In millions.

No obligation

Not covered

Optional (levy)

Mandatory

Optional (quota)

Source: OBS, Mapping of national rules for the promotion of European works in Europe (2019)

Sources: OBS, Fiction film financing in Europe: A sample analysis of films released in 2016 (2018)

Rank Financing sources Financing share - full data sample

Financing share - excluding France

1 Direct public funding 29% 41%

2 Broadcaster investments 25% 15%

3 Pre-sales (excl. TV) 16% 11%

4 Producer investments (excl. TV) 15% 16%

5 Fiscal incentives 10% 8%

6 Debt financing 2% 3%

7 Other financing sources 1% 3%

8 Private equity cash investments 1% 1%

9 In-kind investments 0% 2%

Total sample financing volume (in M EUR) 1 411.7 679.0

European films released in cinemas is available on VOD; but, on the other hand they are, on average, available in only 4.7 countries.

The Observatory is also dedicated to pro- mote transparency on the supply of films (and TV content) through VOD services. This year’s research reveals in particular that European non-national films represent the majority of European films available on VOD – with strong variations between catalogues and countries. The Observatory took a fur- ther step in giving access to the composition of the VOD catalogues with the launch of a new online service, LUMIERE VOD – THE EUROPEAN FILM DIRECTORY. This project, entrusted to us and supported by the Creative Europe Programme of the European Union, was made possible thanks to the coopera- tion of the VOD services themselves – both European and US-based.

Disseminating film research

The Observatory produces its own research but also relies on several networks of partners. Among them is the European Film Agencies Research Network (EFARN). The EFARN is not only essential to the Observatory as a network of providers of national data on admissions to films; it is also where collabora- tive projects (such as the one to analyse the structure of film financing) are discussed and carried out. To further disseminate the work of the EFARN members, we have set up the EFARN Film Research Library (filmresearch. eu), a compilation of data and studies from film agencies. We hope it will contribute to foster exchanges on film related research.

Gilles Fontaine Head of the Market Information Department

Martin Kanzler Film Analyst

Patrizia Simone Film Analyst

Introduction

World

Top 10 markets worldwide by gross box office | 2014-2018 e

In USD billion. Converted at average annual exchange rates. Ranked by 2018 values.

Top 10 markets worldwide by admissions | 2014-2018 e

In million. Ranked by 2018 admissions.

Sources: OBS, MPAA, Comscore, IHS Markit, National data sources

Sources: OBS, IHS Markit, National data sources

Rank Market 2014 2015 2016 2017

2018 Annual growth rate

5 years 1 year 1 US & Canada 10.36 11.14 11.37 11.12 11.88 3.5% 6.8% 2 China 4.82 6.81 6.60 8.27 9.24 17.6% 11.7% 3 Japan 1.70 1.80 2.17 2.04 2.02 4.4% -1.2% 4 United Kingdom 1.74 1.90 1.66 1.65 1.71 -0.5% 3.7% 5 South Korea 1.49 1.37 1.45 1.60 1.65 2.6% 3.1% 6 France 1.77 1.48 1.54 1.56 1.58 -2.9% 1.1% 7 India 1.47 1.50 1.48 1.60 1.50 0.5% -6.5% 8 Germany 1.30 1.29 1.13 1.19 1.06 -4.9% -10.7% 9 Australia 0.87 0.89 0.91 0.92 0.93 1.6% 1.1%

10 Mexico 0.84 0.84 0.79 0.85 0.85 0.2% -0.6%

World total e 36.4 38.4 38.8 40.6 41.1 3.1% 1.2%

Growth rate - World 5.5% 1.0% 4.6% 1.2% 3.1% 1.2% Growth rate - Top 10 10.1% 0.3% 5.8% 5.2% 5.3% 5.2% Growth rate - Top 10 without China

3.1% 1.4% 0.1% 2.8% 1.8% 2.8%

Rank Market 2014 2015 2016 2017 2018 e Annual growth rate e

5 years 1 year 1 India e 1 937 2 073 1 860 1 907 2 022 1.1% 6.0% 2 China 830 1 260 1 370 1 620 1 720 20.0% 6.2% 3 US & Canada 1 268 1 321 1 315 1 240 1 304 0.7% 5.2% 4 Mexico 240 286 321 338 320 7.5% -5.3% 5 South Korea 215 217 217 220 216 0.2% -1.6% 6 Russian Federation 176 174 193 212 202 3.5% -4.7% 7 France 209 205 213 209 201 -1.0% -4.0% 8 United Kingdom 157 172 168 171 177 3.0% 3.7% 9 Japan 161 167 180 175 169 1.2% -3.0%

10 Brazil 156 173 184 181 161 0.9% -11.1%

World total e 6 671 7 498 7 560 7 818 7 954 4.5% 1.7%

Growth rate - World e 2.2% 12.4% 0.8% 3.4% 1.7% 4.5% 1.7% Growth rate - Top 10 e 8.8% 13.1% -0.4% 4.2% 3.5% 5.0% 3.5% Growth rate - Top 10 e without China

5.0% 5.9% -2.8% 0.0% 2.6% 1.4% 2.6%

World

Worldwide number of digital and 3D screens | 2014-2018 e

In units.

200 000

50 000

100 000

150 000

2014 2015 2016 2017 2018 Digital screens by region 2018

2D 3D

14 017

86 528

42 855

43 459

62 678

64 788

127 466

141 050

66 489

74 561

155 069

67 893

87 176

169 274

69 635

99 639

182 019

76 823

105 196

Source: MPAA

Top 10 markets worldwide by number of screens | 2014-2018 e

In units. Ranked by 2018 values.

Sources: OBS, MPAA, IHS Markit

Latin America

Europe/Middle East/Africa

Asia Pacific

US/CA

Rank Market 2014 2015 2016 2017 2018 Annual growth rate

5 years 1 year 1 China 24 607 31 627 41 179 50 776 60 079 25.0% 18.3% 2 US & Canada 43 265 43 661 43 531 43 216 43 459 2.0% 0.6% 3 India 11 109 11 179 11 194 11 209 11 280 0.4% 0.6% 4 Mexico 5 678 5 977 6 225 6 633 7 024 5.5% 5.9% 5 France 5 653 5 741 5 842 5 913 5 981 1.4% 1.2% 6 Russia 3 829 4 021 4 370 4 800 5 215 8.0% 8.6% 7 Italy 5 044 5 053 5 104 5 315 5 205 0.8% -2.1% 8 Germany 4 637 4 692 4 739 4 803 4 849 1.1% 1.0% 9 UK 3 909 4 046 4 150 4 264 4 340 2.6% 1.8%

10 Spain 3 694 3 588 3 568 3 625 3 589 -0.7% -1.0%

World total 142 215 152 142 163 928 171 755 186 859 7.1% 8.8%

Growth rate - World e 7.0% 7.7% 4.8% 8.8% 7.1% 8.8% Growth rate - Top 10 e 7.3% 8.6% 8.4% 7.2% 7.9% 7.2% Growth rate - Top 10 e (without China and India)

1.4% 1.0% 1.7% 1.0% 1.3% 1.0%

World

(1) Still grossing in 2019.

(2) Unofficial cumulated BO.

(3) Released in 2017. BO for 2018 only.

(1) Country data include minority co-productions.

(2) Films certified.

(3) Does not include feature films with budgets under USD 1 million, feature documentaries or student films.

(4) Does not include films produced outside the the official system of script and final print approval.

(5) Feature films released.

(6) The apparent decline of film productions in 2018 is linked to a time lag in identifying film productions with budgets below GBP 500 000. Includes inward feature co-productions but not inward features involving only VFX work in the UK.

Top 20 films by gross box office worldwide | 2018 In USD million. GBO for 2018 only. Does not include carryovers.

Sources: Variety, Comscore, OBS

Top 10 markets worldwide by feature film production (1) | 2014-2018 e

In units. Ranked by 2018 values.

Sources: OBS, IHS Markit, National data sources

Original title Country of origin Studio

North American box office

Inter- national

box office

Global box

office 1 Avengers: Infinity War US Walt Disney 678.82 1 369.54 2 048.36 2 Black Panther US Walt Disney 700.06 648.31 1 348.37 3 Jurassic World: Fallen Kingdom US Universal Pictures 417.72 891.74 1 309.46 4 Incredibles 2 US Walt Disney 608.58 634.16 1 242.75 5 Venom (1) US/CN Sony Pictures 213.31 642.24 855.55 6 Aquaman (1) US Warner Bros. 194.36 602.04 796.40 7 Mission: Impossible - Fallout US/CN/FR/NO Paramount 220.16 570.96 791.12 8 Deadpool 2 US 20th Century Fox 318.49 418.04 736.53 9 Bohemian Rhapsody (1) GB INC/US 20th Century Fox 189.81 519.25 709.07

10 Fantastic Beasts: The Crimes of… GB INC/US Warner Bros. 156.78 470.90 627.68 11 Ant-Man and the Wasp US Walt Disney 216.65 406.00 622.65 12 Operation Red Sea (2) CN/MA/HK Bona Film 1.54 611.52 613.06 13 Ready Player One US Warner Bros. 137.69 443.30 580.99 14 Jumanji: Welcome to the Jungle (3) US Sony Pictures 235.51 319.23 554.74 15 Detective Chinatown 2 CN Wanda Pictures, … 1.98 530.16 532.14 16 The Meg US/CN Warner Bros. 145.44 384.40 529.84 17 Hotel Transylvania 3: Summer Vacation US Sony Pictures 166.23 359.80 526.03 18 The Grinch US/CN Universal Pictures 266.28 207.86 474.14 19 Dying to Survive (2) CN Dirty Monkey, … ~ 463.14 463.14 20 Rampage US Warner Bros. 101.03 325.40 426.43

Rank Market 2014 2015 2016 2017 2018 Annual growth rate 5 years 1 year

1 India (2) 1966 1845 1903 1986 1813 -2.0% -8.7% 2 China 618 686 944 970 1082 15.0% 11.5% 3 Japan 615 581 610 594 613 -0.1% 3.2% 4 US (3) 482 495 511 549 576 4.6% 4.9% 5 South Korea 232 232 339 494 454 18.3% -8.1% 6 France 258 300 283 300 300 3.8% 0.0% 7 Italy 201 185 224 234 272 7.9% 16.2% 8 Spain 224 254 254 279 264 4.2% -5.4% 9 Germany (5) 234 236 256 247 247 1.4% 0.0%

10 UK (6) 364 361 327 315 202 (6) -13.7% -35.9%

World total e 7 455 7 648 7 893 8 026 8 204 2.4% 2.2%

Growth rate - World e 2.6% 3.2% 1.7% 2.2% 2.4% 2.2% Growth rate - Top 10 e -0.4% 9.2% 5.6% -0.8% 3.3% -0.8%

Growth rate - Top 10 e (without China and India)

1.3% 6.1% 7.4% -2.8% 3.8% 0.5%

European Union

EU cinema attendance drops in 2018

The European Audiovisual Observatory esti- mates that, after three years of above average admission levels, cinema attendance in the 28 European Union Member States decreased by 2.9% to 956 million tickets sold. This is 28.7 mil- lion less than in 2017 and the fourth lowest level registered in the EU since 2009. For the first time since 2014 GBO revenues did not cross the EUR 7 billion barrier but fell by 3.3% to EUR 6.80 bil- lion (USD 8.03 billion). The average ticket price in the EU remained stable at EUR 7.1.

Just as in 2017, admissions developed in quite a heterogeneous manner across Europe in 2018: cinema attendance increased in eight and decreased in 16 EU markets, while remaining practically stable in 3 of the 27 EU markets for which data were available. Geographically speaking the decline in EU cinema attendance was primarily caused by a major drop in German admissions (-16.9 million) as well as a comparatively poor year-on-year per- formance in France (-8.3 million) and Italy (-7.0 million). Out of the five major EU markets, only the United Kingdom registered an increase in cinema attendance of 3.7% to 177 million admissions. This is the highest admissions level in the UK since 1970.

Decrease in admissions to US films The decrease of EU cinema attendance in 2018

was primarily caused by a decline in admissions to US films which also led to a drop in US market share from 66.2% to 63.2%. In contrast, admis- sions to European films and European films pro- duced in Europe with incoming US investment (EUR inc) increased and saved EU admissions from a more pronounced slump. The market share of

Information on the number of European digital screens is provided by MEDIA Salles and refers only to digital screens equipped with DLP Cinema or SXRD technology. MEDIA Salles operates in the framework of the EU’s Creative Europe MEDIA sub-programme and supports the promotion of European films through information and training specifically for cinema exhibitors.

Complementary admissions data to top European films are provided by Europa Cinemas, the first international network of cinemas for the circulation of European films with members in 34 MEDIA countries, 674 cities, 1 121 cinemas and 2 709 screens.

European films in the EU grew from 27.9% to an estimated 29.4%, the second highest level in the past five years.

This of course did not change the fact that EU box office charts continued to be dominated by US films which accounted for 23 out of the top 25 titles. As in past years it was mostly family films and various franchise sequels, prequels and spin- offs which featured among the top films. Avengers: Infinity War topped the EU charts and was the only film to sell more than 30 million tickets in 2018, followed by Incredibles 2 (27.9 million).

Two UK incoming investment films, Bohemian Rhapsody and Fantastic Beasts: The Crimes of Grindelwald, made it into the top 25 as the market share of EUR inc films increased from 4.2% to 5.4%. Leaving EUR inc films aside, the British his- torical drama Darkest Hour was the most successful European film selling 6.6 million tickets, ahead of La ch’tite famille (6.4 million), Dany Boon’s spin- off of his breakout success Bienvenue chez les Ch’tis from 2008.

EU production increases again

After decreasing for the first time in 2017, EU film production volume continued its longstanding growth trend as the estimated number of theatrical feature films produced in the EU increased from 1 737 to 1 847 films. EU film production volume breaks down into an estimated 1 142 fiction films (62%) and 705 feature documentaries (38%). The increase in production activity was primarily linked to a growing number of international co-produc- tions and feature documentaries.

Source: European Audiovisual Observatory (OBS)

Population 2018 e 512.7 million

GDP per capita 2018 e 43 148 USD

Gross box office 2018 e 6.80 bn EUR (8.03 bn USD)

Admissions 2018 e 955.6 million

Average ticket price 2018 e 7.1 EUR (8.1 USD)

Average admissions per capita 2018 e 1.9

Screens 2017 | 2018 (1) e 33 026 | 33 112

Digital screens 2017 | 2018 (2) 30 802 | 31 246

Digital 3D screens 2017 | 2018 (2) 14 565 | 14 607

Market shares 2018 e

(1) Source: OBS (2) Source: MEDIA Salles

US 63.2%

Others 2.1%

European films 29.4%

EUR inc/US 5.4%

Note: all 2018 figures for the EU are provisional estimates. “Inc” refers to films produced in a “host” country with US incoming investment.

European Union

Admissions and gross box office in the European Union (1) | 2014-2018 prov.

800

1 200

1 000

2014 2015 2016 2017 2018

9 000

6 000

3 000

6 320

7 204

978

7 045

992

7 036

984

6 802

956

911

Source: OBS

Breakdown of European Union admissions by nationality of films | 2014-2018e

In %.

100

2014 2015 2015 2017 2018 (prov.)

33.2

63.2

3.2 2.8

27.0

63.1

2.1

27.1

67.3

3.5

1.7

27.9

4.2

66.2

2.1

29.4

5.4

63.2

0.4 7.1

Source: OBS/LUMIERE

Rest of World

EUR

EUR INC

Admissions (million)

Gross box office (EUR million)

(1) National currencies converted to EUR at average annual exchange rates.

Note: ‘Inc’ refers to films produced in Europe with US incoming investment.

European Union

Number of feature films produced in the European Union | 2014-2018 prov. In units.

prov. Country 2014 2015 2016 2017 2018 Sources Austria 100% national fiction 10 15 13 9 12 Austrian Film Institute

maj. co-prod. fiction 6 1 3 6 5 Austrian Film Institute min. co-prod. fiction 4 7 7 9 10 Austrian Film Institute Feature documentaries 25 17 21 20 25 Austrian Film Institute

Belgium (1) 100% national fiction 12 13 16 14 14 CFWB / VAF maj. co-prod. fiction 20 17 21 22 13 CFWB / VAF min. co-prod. fiction 33 31 28 38 31 CFWB / VAF Feature documentaries 5 8 17 15 17 CFWB / VAF

Bulgaria 100% national fiction 2 10 18 10 5 National Film Center maj. co-prod. fiction 1 2 6 4 1 National Film Center min. co-prod. fiction 0 5 7 5 5 National Film Center Feature documentaries 10 8 11 4 10 National Film Center

Cyprus e 100 % national fiction 1 2 0 2 3 OBS / Min. Cult maj. co-prod. Fiction 1 1 0 1 0 OBS / Min. Cult min. co-prod. Fiction 1 1 3 2 0 OBS / Min. Cult Feature documentaries 0 1 0 1 0 OBS / Min. Cult

Croatia 100% national fiction 7 5 6 6 10 Croatian Audiovisual Centre maj. co-prod. fiction 4 4 4 2 4 Croatian Audiovisual Centre

min. co-prod. fiction 5 5 6 9 8 Croatian Audiovisual Centre Feature documentaries 3 1 1 16 14 Croatian Audiovisual Centre

Czech Rep. 100% national fiction 21 20 24 16 23 State Cinematography Fund maj. co-prod. fiction 8 7 17 8 13 State Cinematography Fund

min. co-prod. fiction 6 9 7 5 11 State Cinematography Fund Feature documentaries 26 20 31 25 30 State Cinematography Fund

Denmark (2) 100% national fiction 14 14 15 13 13 Danish Film Institute maj. co-prod. fiction 7 9 8 8 9 Danish Film Institute min. co-prod. fiction 7 8 8 9 10 Danish Film Institute Feature documentaries 27 40 31 24 25 Danish Film Institute

Estonia (2) 100% national fiction 3 1 7 3 6 Estonian Film Institute maj. co-prod. fiction 1 3 2 3 1 Estonian Film Institute min. co-prod. fiction 2 2 3 5 3 Estonian Film Institute Feature documentaries 13 19 8 7 11 Estonian Film Institute

Finland (3) 100% national fiction 18 14 15 20 18 Finnish Film Foundation maj. co-prod. fiction 1 3 3 2 1 Finnish Film Foundation

min. co-prod. fiction 5 4 5 1 6 Finnish Film Foundation Feature documentaries 23 24 22 18 24 Finnish Film Foundation

France 100% national fiction 124 126 125 147 141 CNC maj. co-prod. fiction 44 66 55 38 48 CNC

min. co-prod. fiction 53 61 59 72 55 CNC Feature documentaries 37 47 44 43 56 CNC

Germany (2) 100% national fiction 84 76 82 80 78 SPIO maj. co-prod. fiction 22 24 41 27 35 SPIO

min. co-prod. fiction 43 45 43 34 40 SPIO Feature documentaries 85 91 90 106 94 SPIO

Greece (2) e 100% national fiction 8 14 6 11 9 OBS maj. co-prod. fiction 5 1 5 3 2 OBS min. co-prod. fiction 9 7 10 6 3 OBS Feature documentaries 9 8 6 6 6 OBS

Hungary 100% national fiction 11 13 15 12 15 National Film Office (NMHH) maj. co-prod. fiction 1 2 3 2 2 National Film Office (NMHH) min. co-prod. fiction 3 3 1 2 1 National Film Office (NMHH) Feature documentaries 0 3 1 3 0 National Film Office (NMHH)

Ireland 100% national fiction 6 4 6 2 3 Screen Ireland maj. co-prod. fiction 6 7 10 12 14 Screen Ireland

min. co-prod. fiction 13 6 4 6 12 Screen Ireland Feature documentaries 7 15 9 7 14 Screen Ireland

Italy 100% national fiction 150 126 142 153 147 MiBACT maj. co-prod. fiction 14 22 23 18 23 MiBACT

min. co-prod. fiction 7 5 7 5 10 MiBACT Feature documentaries 30 32 52 59 93 MiBACT

European Union

Number of feature films produced in the European Union | 2014-2018 prov. In units.

Latvia (2) 100% national fiction 1 1 2 3 5 National Film Centre of Latvia maj. co-prod. fiction 5 2 2 2 3 National Film Centre of Latvia

min. co-prod. fiction 1 0 3 1 1 National Film Centre of Latvia Feature documentaries 17 14 13 13 17 National Film Centre of Latvia

Lithuania (2) 100% national fiction 8 6 8 6 9 Lithuanian Film Centre maj. co-prod. fiction 3 2 2 4 2 Lithuanian Film Centre

min. co-prod. fiction 1 0 1 0 3 Lithuanian Film Centre Feature documentaries 3 1 2 1 9 Lithuanian Film Centre

Luxembourg e 100% national fiction 0 3 1 1 0 OBS / LFF maj. co-prod. fiction 3 5 0 3 3 OBS / LFF min. co-prod. fiction 17 10 16 7 8 OBS / LFF

Feature documentaries 1 2 3 2 3 OBS / LFF Malta e Total 3 1 3 2 4 IMDB / OBS The 100% national fiction 22 24 19 19 23 NFF Netherlands maj. co-prod. fiction 21 20 10 10 11 NFF

min. co-prod. fiction 19 19 21 25 21 NFF Feature documentaries 22 19 32 33 31 NFF

Poland 100% national fiction 30 28 39 36 25 Polish Film Institute maj. co-prod. fiction 4 4 1 6 4 Polish Film Institute min. co-prod. fiction 3 3 6 17 5 Polish Film Institute

Feature documentaries 9 14 8 16 8 Polish Film Institute Portugal 100% national fiction 2 6 5 12 13 ICA maj. co-prod. fiction 1 9 8 0 8 ICA

min. co-prod. fiction 3 2 4 8 2 ICA Feature documentaries 7 14 10 18 19 ICA

Romania 100% national fiction 27 27 27 22 32 CNC maj. co-prod. fiction 3 8 7 6 10 CNC min. co-prod. fiction 7 1 7 2 1 CNC

Feature documentaries 10 7 8 11 7 CNC Slovakia 100% national fiction 4 5 2 4 1 Slovak Film Institute maj. co-prod. fiction 3 5 4 5 6 Slovak Film Institute min. co-prod. fiction 5 5 8 12 12 Slovak Film Institute

Feature documentaries 15 11 12 6 14 Slovak Film Institute Slovenia (2) 100% national fiction 5 9 4 5 2 Slovenian Film Center maj. co-prod. fiction 1 1 4 6 4 Slovenian Film Center min. co-prod. fiction 4 5 4 1 3 Slovenian Film Center

Feature documentaries 2 4 8 9 12 Slovenian Film Center Spain 100% national fiction 26 69 98 117 96 ICAA maj. co-prod. fiction 68 58 23 19 26 ICAA min. co-prod. fiction 32 16 13 18 4 ICAA

Feature documentaries 98 111 120 125 131 ICAA Sweden (2) 100% national fiction 26 21 16 18 22 SFI maj. co-prod. fiction 4 7 6 7 9 SFI min. co-prod. fiction 7 4 7 13 0 SFI

Feature documentaries 19 18 25 30 20 SFI United 100% national fiction 187 157 171 147 103 BFI Kingdom (4) maj. co-prod. fiction 11 15 7 6 5 BFI

min. co-prod. fiction 21 15 17 9 13 BFI Feature documentaries 89 111 71 78 30 BFI Inward features (5) 56 63 61 75 51 BFI

Total fiction films EU 28 (6) e 1 080 1 115 1 159 1 120 1 142 OBS Total feature documentaries EU 28 (6) e 535 591 589 617 705 OBS Total feature films EU 28 (6) e 1 615 1 706 1 748 1 737 1 847 OBS

prov. Country 2014 2015 2016 2017 2018 Sources

Continued

(1) CFWB counts films certified. VAF counts only feature films released which received public support.

(2) Films on first release

(3) Films receiving national support.

(4) The apparent decline of film productions in 2018 is linked to a time lag in identifying film productions with budgets below GBP 500 000.

(5) Including inward feature co-productions, excluding inward features involving only VFX work in the UK.

(6) Restated data series. Estimates accounting for time-lag in identifiying GB productions. Excluding GB inward invest- ment features.

European Union

prov. ISO Country 2014 2015 2016 2017 2018 2018/17 Sources

AT Austria e 14.3 15.9 15.1 14.6 12.9 -11.4% Austrian Film Institute

BE Belgium e 21.6 21.1 19.4 19.6 18.8 -3.9% VAF / CFWB / Cinedata

BG Bulgaria 4.9 5.3 5.5 5.6 4.9 -12.1% National Film Center (NFC)

CY Cyprus e 0.7 0.7 0.7 0.7 0.8 1.3% Min. Cult.

CZ Czech Republic 11.6 13.0 15.6 15.2 16.3 7.3% Czech Film Fund

DE Germany 121.7 139.2 121.1 122.3 105.4 -13.8% FFA

DK Denmark 11.9 13.8 13.0 11.9 13.0 9.0% Statistics Denmark / Danish Film Institute

EE Estonia 2.6 3.1 3.3 3.5 3.6 3.4% Estonian Film Institute

ES Spain e 88.0 96.1 101.8 100.2 98.9 -1.3% ICAA

FI Finland e 7.3 8.7 8.7 8.8 8.1 -8.3% Finnish Film Foundation

FR France 209.1 205.4 213.2 209.4 201.1 -4.0% CNC

GB United Kingdom 157.5 171.9 168.3 170.6 177.0 3.7% BFI / DCM

GR Greece e 9.0 9.8 10.0 10.1 9.4 -7.2% Greek Film Center

HR Croatia 3.8 3.9 4.3 4.5 4.6 1.5% Croatian Audiovisual Centre

HU Hungary e 11.0 13.0 14.6 14.9 15.5 3.6% National Film Office

IE Ireland e 14.4 15.2 15.8 16.1 15.8 -2.1% Screen Ireland

IT Italy e 98.3 106.7 113.8 99.6 92.6 -7.0% SIAE / Cinetel / ANICA

LT Lithuania 3.2 3.3 3.7 4.1 4.3 5.1% Lithuanian Film Centre

LU Luxembourg e 1.1 1.3 1.1 1.2 1.1 -10.3% CNA

LV Latvia 2.3 2.4 2.5 2.5 2.5 1.9% National Film Centre of Latvia

MT Malta 0.7 0.7 0.7 0.8 - - National Statistics Office Malta

NL Netherlands 30.8 33.0 34.2 36.0 35.7 -0.8% NFF / MaccsBox - NVB & NVF

PL Poland 40.5 44.7 52.1 56.6 59.7 5.5% Polish Film Institute

PT Portugal 12.1 14.6 14.9 15.6 14.7 -5.9% Instituto do Cinema e do Audiovisual

RO Romania 10.2 11.2 13.0 13.9 13.3 -3.8% Centrul National al Cinematografiei

SE Sweden 16.3 17.0 17.8 16.9 16.4 -3.1% Swedish Film Institute

SI Slovenia 1.9 2.1 2.3 2.4 2.5 8.3% Slovenian Film Centre

SK Slovak Republic 4.1 4.6 5.7 6.7 6.0 -10.9% Slovak Film Institute / UFD

EU 28 - Total e 911 978 992 984 956 -2.9% European Audiovisual Observatory

Admissions in the European Union | 2014-2018 prov. In millions. Provisional data.

Source: OBS

European Union

(1) Estimated as of December 2017. (2) Including screens with screenings on less than 60 days.

(1) Czech screen base includes non-permanent screens (open-air, part-time, itinerant screens( which represent an important part of the local cinema landscape. Digital screen penetration among permanent cinemas is above 90%

Source: MEDIA Salles

Sources: OBS

Digital screen penetration in the EU by country December 2018 e

In %.

Number of screens in the EU by country December 2018 e

In units.

100

Fr an

G er

m an

Un ite

d Ki

ng do

Th e

N et

he rla

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Au st

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Fi nl

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Be lg

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Cr oa

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Lu xe

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Cy pr

Sw ed

en Sp

ai n

M al ta

Ita ly

H un

ga ry

Ro m

an ia

Po la nd

Po rt ug

Es to

ni a

Li th

ua ni

G re

ec e

Sl ov

ak R

ep ub

lic

( 1)

Cz ec

h Re

pu bl

10 0

99 99 98 98 97 97 96 94 92 91

84 81

La tv

6 000

Fr an

(2 ) It

al y

G er

m an

Un ite

d Ki

ng do

m Sp

ai n

Po la nd

(1 ) Th

e N et

he rla

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Sw ed

Cz ec

h Re

pu bl

Po rt ug

G re

ec e

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( 1)

Be lg

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Ir el

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D en

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Ro m

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H un

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Fi nl

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Cr oa

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Li th

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( 1)

Lu xe

m bo

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(1 ) M

al ta

(1 ) C

yp ru

5 000

4 000

3 000

2 000

1 000

5 98

5 20

4 84

4 34

3 58

1 24

95 6

80 8

75 0

58 0

57 7

54 7

52 3

46 3

47 2

40 4

37 2

35 8

26 6

21 8

18 5

10 8

79 66 66 37 35 35

European Union

The tables below offer provisional rankings based on the analysis of partially fragmentary data for 26 EU member states representing 93% of total admissions in the EU.

(1) 7 451 034 admissions in the EU in 2017. (2) 2 264 045 admissions in the EU in 2017. Source: OBS/LUMIERE

(1) 9 170 946 admissions in the EU in 2017. Source: OBS/LUMIERE

Top 25 films by admissions in the European Union | 2018 prov.

Top 25 European films (including EUR inc) by admissions in the European Union | 2018 prov.

Original title Country of origin Director

prov. Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 30 994 883 2 Incredibles 2 US Brad Bird 27 885 265 3 Bohemian Rhapsody GB INC/US Bryan Singer 26 413 548 4 Jurassic World: Fallen Kingdom US J.A. Bayona 22 125 822 5 Fantastic Beasts: The Crimes of Grindelwald GB INC/US David Yates 20 162 345 6 Mamma Mia! Here We Go Again US/GB/JP Ol Parker 19 921 320 7 Black Panther US Ryan Coogler 18 936 504 8 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 18 344 645 9 Fifty Shades Freed US James Foley 17 647 914

10 Deadpool 2 US David Leitch 16 365 965 11 The Grinch US/CN Yarrow Cheney, Scott Mosier 13 822 945 12 Peter Rabbit US/AU Will Gluck 13 282 299 13 Venom US/CN Ruben Fleischer 12 840 350 14 Mission: Impossible - Fallout US/CN/FR/NO Christopher McQuarrie 12 456 615 15 A Star Is Born US Bradley Cooper 11 912 983 16 Jumanji: Welcome to the Jungle (1) US Jake Kasdan 9 941 367 17 The Nun US Corin Hardy 9 678 162 18 Solo: A Star Wars Story US Ron Howard 9 168 764 19 The Greatest Showman (2) US Michael Gracey 9 037 004 20 The Meg US/CN Jon Turteltaub 8 845 242 21 Ant-Man and the Wasp US Peyton Reed 8 691 322 22 Ready Player One US Steven Spielberg 8 611 061 23 Aquaman US James Wan 8 069 283 24 Mary Poppins Returns US Rob Marshall 7 564 967 25 Maze Runner: The Death Cure US Wes Ball 7 535 598

Original title Country of origin Director

prov. Admissions

1 Bohemian Rhapsody GB INC/US Bryan Singer 26 413 548 2 Fantastic Beasts: The Crimes of Grindelwald GB INC/US David Yates 20 162 345 3 Johnny English Strikes Again GB/US/FR David Kerr 7 128 046 4 Darkest Hour GB/US Joe Wright 6 593 948 5 La ch'tite famille FR/BE Dany Boon 6 428 659 6 Les Tuche 3 (The Magic Tuche) FR Olivier Baroux 5 965 078 7 Kler (Clergy) PL/CZ Wojciech Smarzowski 5 362 662 8 Le grand bain (Sink or Swim) FR/BE Gilles Lellouche 4 387 141 9 Taxi 5 FR Franck Gastambide 4 138 811

10 Early Man GB/US Nick Park 3 691 935 11 The Commuter GB/US/FR Jaume Collet-Serra 3 609 532 12 Campeones (Champions) ES Javier Fesser 3 407 713 13 Tout le monde debout (Rolling to You) FR/BE Franck Dubosc 2 865 089 14 Paddington 2 (1) GB/FR Paul King 2 581 839 15 Alad'2 (Aladdin 2) FR Lionel Steketee 2 428 603 16 Belle and Sebastian 3 (Friends for Life) FR Clovis Cornillac 2 409 748 17 Astérix: Le secret de la potion magique FR/BE Alexandre Astier, Louis Clichy 2 320 092 18 Kobiety Mafii (Women of Mafia) PL Patryk Vega 2 159 649 19 Loving Pablo ES/BG Fernando León de Aranoa 2 127 849 20 Jim Knopf und Lukas der Lokomotivführer DE Dennis Gansel 2 000 548 21 Todos lo saben (Everybody Knows) ES/FR/IT Asghar Farhadi 1 980 643 22 Zimna wojna (Cold War) PL/FR/GB Pawel Pawlikowski 1 972 598 23 Die kleine Hexe (The Little Witch) DE/CH Mike Schaerer 1 816 105 24 Le jeu (The Game) FR/BE Fred Cavayé 1 782 774 25 Superlópez ES Javier Ruiz Caldera 1 776 175

European Union

Note: A total of 181 European films (including 15 EUR inc films) were identified among the top 600 films on release in the US and Canada in 2018, generating cumulative admissions of 71.5 million (5.5% market share)

(1) Data based on Europa Cinemas members in 34 MEDIA countries, 674 cities, 1 121 cinemas, 2 709 screens. (2) Country of origin and production year as allocated in LUMIERE database.

Sources: Comscore, OBS/LUMIERE

Sources: Europa Cinemas, OBS

Top 25 European films (incl EUR inc) by admissions in the US & Canada | 2018 e

Admissions estimated based on average ticket price of USD 9.11.

Top 25 EU films by admissions in the Europa Cinemas Network (1) | 2018 e

Original title Country of origin Director Distributor Admissions e 1 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 20 858 978 2 Fantastic Beasts: The Crimes … GB INC/US David Yates Warner Bros. 17 165 602 3 Paddington 2 GB/FR Paul King Warner Bros. 4 459 279 4 The Commuter GB/US/FR Jaume Collet-Serra Lionsgate 3 963 344 5 Darkest Hour GB/US Joe Wright Focus Features 3 754 886 6 The Strangers: Prey at Night GB/US Johannes Roberts Aviron Pictures 2 664 283 7 The Favourite GB/IE/US Yorgos Lanthimos Fox Searchlight 1 896 874 8 Call Me by Your Name IT/FR/BR/US Luca Guadagnino Sony Pictures 1 384 273 9 Three Identical Strangers GB Tim Wardle Neon Rated 1 343 604

10 Mary Queen of Scots GB/US Josie Rourke Focus Features 1 229 882 11 Early Man GB/US Nick Park Lionsgate 901 586 12 The Wife GB/SE/US Björn Runge Sony Pictures 891 907 13 The Death of Stalin FR/BE/GB/CA Armando Iannucci IFC Films 874 098 14 Hotel Artemis GB/US Drew Pearce Open Road 731 531 15 They Shall Not Grow Old GB/NZ Peter Jackson Warner Bros. 622 010 16 2001: A Space Odyssey GB/US Stanley Kubrick Warner Bros. 621 238 17 Colette GB/US/HU Wash Westmoreland Bleecker Street 560 264 18 Johnny English Strikes Again GB/US/FR David Kerr Universal 481 153 19 7 Days in Entebbe GB/US José Padilha Focus Features 362 801 20 The Leisure Seeker IT/FR Paolo Virzì Sony Pictures 350 305 21 Robin Hood GB INC/US Ridley Scott Universal 344 602 22 The Sisters Brothers FR/ES/RO/US/BE Jacques Audiard Annapurna Pictures 342 754 23 Whitney GB/US Kevin Macdonald Roadside Attractions 330 028 24 American Animals GB/NL/US Bart Layton The Orchard 311 531 25 You Were Never Really Here GB INC/FR/US Lynne Ramsay Amazon Studios 275 690

Original title Country

of origin (2) Director prov.

Admissions 1 Zimna wojna (Cold War) PL/FR/GB Pawel Pawlikowski 974 847 2 Darkest Hour GB/US Joe Wright 921 342 3 Chiamami col tuo nome (Call Me By Your Name) IT/FR/BR/US Luca Guadagnino 846 531 4 Todos lo saben (Everybody Knows) ES/FR/IT Asghar Farhadi 616 281 5 The Children Act GB/US Richard Eyre 578 224 6 Loving Vincent PL/GB/CH/NL D. Kobiela & H. Welchman 468 685 7 Le Sens de la fête (C'est la vie) FR/CA/BE O. Nakache & E. Toledano 431 665 8 The Leisure Seeker IT/FR Paolo Virzi 405 975 9 Aus dem Nichts (In The Fade) DE/FR Fatih Akin 389 429

10 The Death of Stalin FR/BE/GB/CA Armando Iannucci 363 950 11 Girl BE/NL Lukas Dhont 353 597 12 The Wife GB/SE/US Bjorn Runge 337 823 13 Den skyldige (The Guilty) DK Gustav Möller 290 859 14 Dogman IT/FR Matteo Garrone 279 481 15 Kler (Clergy) PL/CZ Wojciech Smarzowski 276 571 16 Das schweigende Klassenzimmer (The Silent…) DE Lars Kraume 258 992 17 Der Vorname (How About Adolf?) DE Sönke Wortmann 239 919 18 The Bookshop ES/GB/DE Isabel Coixet 231 955 19 Pope Francis - A Man of His Word VA/IT/CH/DE/FR Wim Wenders 230 936 20 Le grand bain (Sink or Swim) FR/BE Gilles Lellouche 229 766 21 Early Man GB/US Nick Park 223 794 22 Campeones (Champions) ES Javier Fesser 223 418 23 The Guernsey Literary And Potato Peel Pie Society GB INC/US/FR Mike Newell 221 649 24 Le Brio FR/BE Yvan Attal 221 526 25 Maria by Callas FR Tom Volf 221 402

France

(1) Officially recognised films.

(1) Source: CNC (2) MEDIA Salles

Number of French feature films produced | 2014-2018 In units.

400

300

200

100

2014 2015 2016 2017 2018

258

152

300

158

300

177

300

182

283

159

Source: CNC

Population 2018 e 67.2 million

GDP per capita 2018 e 42 419 USD

Gross box office 2018 e 1.34 bn EUR (1.58 bn USD)

Admissions 2018 e 201.1 million

Average ticket price 2018 e 6.6 EUR (7.8 USD)

Average admissions per capita 2018 e 3.0

Screens 2017 | 2018 (1) 5 913 | 5 981

Digital screens 2017 | 2018 (2) 5 913 | 5 981

Digital 3D screens 2017 | 2018 (2) 3 025 | 3 030

Admissions and gross box office in France | 2014-2018

100

300

250

200

150

2014 2015 2016 2017 2018

400

800

1 600

1 200 209.1

1 333.3 1 331.7

205.4

1 388.4

213.2

1 380.3

209.4

1 336.1

201.1

Source: CNC

Market shares 2018 e

Total (1)

100% national

Admissions (million)

Gross box office (EUR million)

Others 60.5%

National 39.5%

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

France

Distribution and exhibition

French cinema attendance dropped by 4% to 201 million admissions in 2018. This marks the fifth consecutive year of admissions exceeding 200 million even though it represents the second lowest level in the past decade. GBO decreased by 3.2% to EUR 1.34 billion, the third highest level in history after 2016 and 2017.

Factors contributing to the decline in admis- sions included the soccer World Cup which was won by France, heat waves, strikes as well as the comparatively poor performance of US block- busters. Despite representing 13 out of the top 20 films, cumulative admissions to US films declined by 11% as US market share dropped from 51% to 45%. In contrast, admissions to French and other European films increased but could not make up for the loss of US film admissions. French box office was once more dominated by a mixture of US superhero franchise films, family animations and local mainstream comedies. Incredibles 2 topped the charts selling 5.8 million tickets, followed by two French comedy franchises Les Tuche 3 and La ch’tite famille. A total of six French films made it into the top 20 and contributed largely to the increase in national market share from 37.5% to 39.5%, the highest level since 2014. As in 2017 Walt Disney led the competitive French distri- bution market with a market share of 12.7%,

ahead of UPI (9.6%), Warner Bros (9.2%) and 20th Century Fox (9.1%).

After intense industry negotiations an agree- ment on new rules on media chronology was reached in December 2018. According to the new rules exploitation windows have been shortened allowing the public speedier access to works on both TV and VOD platforms.

Production and funding

With 300 feature films approved by the coun- try’s national funding body, the CNC, in 2018 French film production equalled the record levels of 2015 and 2017. In 2018 the average produc- tion cost of French initiative films amounted to EUR 4.0 million, compared to EUR 4.9 million in 2017 and EUR 5.1 million ten years ago. Total investment in film production in France plum- meted by 15% to EUR 1.13 billion in 2018, EUR 957 million of which was invested in French ini- tiative films. These are the third lowest levels registered in the past decade and reflect a sharp decline in financing from traditional distribution deals and TV channels. In an effort to further promote gender equality France has introduced a new subsidy bonus of 15% on top of the sub- sidy received from the CNC for films with women in key positions, effective from January 2019.

Sources: CNC, Le Film Français, Variety, OBS

Top 20 films by admissions in France | 2018 (1)

(1) Covering film releases and admissions between 27/12/2017 and 25/12/2018. Source: Le Film Français

Original title Country of origin Director

Distributor Admissions e

1 Incredibles 2 US Brad Bird Walt Disney 5 849 783 2 Les Tuche 3 (The Magic Tuche) FR Olivier Baroux Pathé Distribution 5 687 100 3 La ch'tite famille FR/BE Dany Boon Pathé Distribution 5 626 049 4 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 5 141 500 5 Le grand bain (Sink or Swim) FR/BE Gilles Lellouche StudioCanal 4 162 550 6 Fantastic Beasts: The Crimes of… GB INC/US David Yates Warner Bros. 3 700 901 7 Black Panther US Ryan Coogler Walt Disney 3 688 170 8 Taxi 5 FR Franck Gastambide EuropaCorp/ARP 3 653 933 9 Jurassic World: Fallen Kingdom US J.A. Bayona UPI 3 642 158

10 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 3 546 367 11 Hotel Transylvania 3: Summer… US Genndy Tartakovsky Sony Pictures 3 076 040 12 Mission: Impossible - Fallout US/CN/FR/NO C. McQuarrie Paramount Pict. 3 021 982 13 Maze Runner: The Death Cure US Wes Ball 20th Century Fox 2 846 645 14 Fifty Shades Freed US James Foley UPI 2 767 753 15 Deadpool 2 US David Leitch 20th Century Fox 2 599 594 16 Tout le monde debout (Rolling to…) FR/BE Franck Dubosc Gaumont Distrib. 2 419 376 17 Alad'2 (Aladdin 2) FR Lionel Steketee Pathé Distribution 2 340 362 18 Venom US/CN Ruben Fleischer Sony Pictures 2 288 459 19 Ready Player One US Steven Spielberg Warner Bros. 2 280 758 20 Astérix: Le secret de la potion magique FR/BE A. Astier, L. Clichy SND Films 2 102 757

Germany

Population 2018 e 82.9 million

GDP per capita 2018 e 47 535 USD

Gross box office 2018 e 899.30 M EUR (1.06 bn USD)

Admissions 2018 e 105.4 million

Average ticket price 2018 e 8.5 EUR (10.1 USD)

Average admissions per capita 2018 e 1.3

Screens 2017 | 2018 (1) 4 803 | 4 849

Digital screens 2017 | 2018 (2) 4 803 | 4 848

Digital 3D screens 2017 | 2018 (2) 2 220 | 2 220

(1) Films on first release.

Admissions and gross box office in Germany | 2014-2018

100

200

180

160

140

120

2014 2015 2016 2017 2018

800

900

1 200

1 100

1 000 979.7

1 167.1

139.2

1 023.0

121.1

1 056.1

122.3 899.3

105.4

121.7

Source: FFA

Number of German feature films produced (1) | 2014-2018 In units.

300

200

100

2014 2015 2016 2017 2018

234

149

236

139

256

138

247

155

247

144

Source: SPIO

Market shares 2018 e

(1) Source: FFA (2) Source: MEDIA Salles

Others 76.5%

National 23.5%

Total

100% national

Admissions (million)

Gross box office (EUR million)

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

Germany

Top 20 films by admissions in Germany | 2018

Distribution and exhibition

German cinema attendance plummeted 13.9% to 105.5 million admissions in 2018. This is the lowest level since the German reunification in 1990. The steep drop comes after a marginal 1% increase in 2017 which had followed a 13% fall in 2016. Impacted by a 33% drop in 3D admissions whose market share fell to 16.3%, the lowest level since the roll-out of 3D in 2009, the average ticket price decreased for the first time in 14 years by 9 cents to EUR 8.54. As a result, GBO dropped even more sharply than admissions, falling by 14.8% to EUR 899 million. This is the first time since 2012 that Germany’s box office earnings failed to reach the one billion benchmark that clearly. The number of first releases continued to decrease for the second year in a row, declining from 587 in 2017 to 576 film releases.

Both US as well as local films registered declining admissions while German films managed to keep their market share relatively stable, capturing 23.5% of the market despite no local film fea- turing in the top 10 ranking which was exclusively dominated by US studio titles. Two children’s films Jim Knopf und Lukas der Lokomotivführer (1.8 mil- lion admissions) and Die Kleine Hexe (1.6 million) became the two most successful local produc- tions. 2018 was also characterised by the lack of breakout successes with no single film selling more than four million tickets in 2018, in con-

trast to three films in 2017 and eight in 2015. Universal topped Germany’s distribution market in 2018 taking 18.8% of total admissions, ahead of Warner Bros. (16.8%) and Walt Disney (14.2%).

Production and funding

German feature film production remained stable with 247 national feature films, including minority co-productions, released in 2018, the same number as in 2017. On the funding side the DFFF, Germany’s main public funding pro- gram for theatrical films, revamped its guidelines in October 2018 and expanded the rebate system for the VFX sector. Instead of requiring a physical shoot in the country, the new regulations require a simple EUR 2 million local spend in order to qualify for the DFFF II’s 25% rebate. Combined with regional funding, VFX support can now go up to 45%. At the same time and complementing the DFFF, the Ministry of Culture also took over the responsibility for the EUR 15 million German Motion Picture Fund (GMPF) which supports the production of films and series to be released on TV or VOD platforms. Good news also came earlier this year for the FFA as Netflix finally agreed to make financial contributions to the national film fund from September 2019 onwards.

Sources: FFA, SPIO, BKM, Blickpunkt Film, filmecho/filmwoche, Variety, OBS

Original title Country of origin Director Distributor Admissions

1 Fantastic Beasts: The Crimes of… GB INC/US David Yates Warner Bros. 3 589 309 2 Avengers: Infinity War US Anthony & Joe Russo Walt Disney Studios 3 399 185 3 Fifty Shades Freed US James Foley Universal Pictures 3 007 580 4 Incredibles 2 US Brad Bird Walt Disney Studios 2 916 732 5 Hotel Transylvania 3: Summer… US Genndy Tartakovsky Sony Pict. Releasing 2 538 116 6 Jurassic World: Fallen Kingdom US J.A. Bayona Universal Pictures 2 403 661 7 Deadpool 2 US David Leitch 20th Century Fox 2 242 445 8 Mamma Mia! Here We Go Again GB/US Ol Parker Universal Pictures 2 179 839 9 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 2 049 780

10 The Grinch US/CN Y. Cheney, S. Mosier Universal Pictures 1 966 133 11 Jim Knopf und Lukas der Lokomotivf… DE Dennis Gansel Warner Bros. 1 813 006 12 Black Panther US Ryan Coogler Walt Disney Studios 1 797 443 13 Die kleine Hexe (The Little Witch) DE/CH Mike Schaerer StudioCanal 1 582 668 14 Peter Rabbit US/AU Will Gluck Sony Pict. Releasing 1 526 827 15 Star Wars: Episode VIII - The Last Jedi US Rian Johnson Walt Disney Studios 1 509 581 16 Dieses bescheuerte Herz (This Crazy… DE Marc Rothemund Constantin Film 1 417 681 17 Venom US/CN Ruben Fleischer Sony Pict. Releasing 1 373 487 18 Solo: A Star Wars Story US Ron Howard Walt Disney Studios 1 364 133 19 Mission: Impossible - Fallout US/CN/FR/NO C. McQuarrie Paramount 1 285 749 20 Der Vorname (How About Adolf?) DE Sönke Wortmann Constantin Film 1 272 832

Source: FFA

Italy

Population 2018 e 60.5 million

GDP per capita 2018 e 33 725 USD

Gross box office 2018 e 588.6 M EUR (695 M USD)

Admissions 2018 e 92.6 million

Average ticket price 2018 e 6.4 EUR (7.5 USD)

Average admissions per capita 2018 e 1.5

Screens 2017 | 2018 (1) 5 315 | 5 205

Digital screens 2017 | 2018 (2) 3 743 | 3 766

Digital 3D screens 2017 | 2018 (2) 1 385 | 1 390

Number of Italian feature films produced | 2014-2018 In units.

300

200

100

2014 2015 2016 2017 2018

180

201

157

185

188

224

209

234

233

272

Source: DG Cinema - MiBACT

100% national

Total

Admissions and gross box office in Italy | 2014-2018 e

100

160

140

120

2014 2015 2016 2017 2018

250

500

750

1 000

98.3

106.7

664.3

113.8

695.1

99.6

619.4

92.6

588.6600.1

Source: SIAE, ANICA, Cinetel, OBS

Market shares 2018 e

Gross box office (EUR million) e

Admissions (million) e

(1) Source: SIAE. But only 3 849 screens with at least 60 days of activity in 2017. (2) Source: MEDIA Salles (counting only screens with at least 60 days of activity).

Others 76.8%

National 23.2%

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

Italy

Top 20 films by admissions in Italy | 2018

Distribution and exhibition

Italian box office continued its recent down- ward trend with cinema attendance dropping by 7% to 92.6 million admissions. This decline follows a 12% plunge in 2017 and represents the lowest level in ticket sales since 1995. GBO decreased by 5% to an estimated EUR 589 million, the lowest level since the turn of the century, as the average ticket price increased by 12 cents to EUR 6.35.

In contrast to 2017, when Italian films suffered a massive drop in admissions, the decline in 2018 was caused by the comparatively poor performance of US blockbusters, whose market share dropped from 65% to 59% despite accounting for all the top 10 films. The persistently low number of US and local blockbuster releases during the summer months is regarded as an important factor for the low turnout. On a more positive note, Italian films regained traction in 2018. Led by dramedy A casa tutti bene (1.4 million admissions, rank 11) and comedy Benedetta follia (1.3 million, rank 14) local films attracted more admissions and increased their market share from 17.6% to 23.2% in 2018. Warner Bros led the Italian distribution market, taking 19.1% of total admissions, followed by Universal (14.6%), Walt Disney (14.4%), 20th Century Fox (11.6%) and 01 Distribution (11.5%).

Following a controversy about the simulta- neous release of On My Skin in theatres and on

Netflix, theatrical windows were regulated by a Ministerial Decree announced in November 2018, enforcing a time lag of 105 days between the theatrical release of a film and its availability on other platforms. This represents the country’s first legislative intervention concerning theatrical windows and effectively enshrines an already well-established practice into law. The law fore- sees two important exceptions for limited releases selling less than 50 000 tickets in the first 21 days as well as for films with a short-time release of up to 3 days, in which cases the window can be reduced to 60 and 10 days respectively.

Production and funding

Italian feature film production on the other hand continued to grow thanks to a significant increase in feature documentaries and hit a record high of 272 films produced in 2018. The Italian film industry is hoping to benefit from the implementa- tion of the new film law from 2017 through a series of decrees which is pouring some EUR 400 mil- lion annually into all industry sectors, including the exhibition sector where public support aims to incentivize the refurbishment of existing and the construction of new cinemas, which should contribute to winning back cinema audiences.

Sources: DG Cinema-MiBACT, ANICA, Cinetel, Cineuropa, Screen International, Variety, OBS

Source: Cinetel

Original title Country of origin Director Distributor Admissions

1 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 3 000 297 2 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 2 645 814 3 Fifty Shades Freed US James Foley Universal 2 043 606 4 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Warner Bros. 1 934 922 5 Incredibles 2 US Brad Bird Walt Disney 1 874 635 6 Fantastic Beasts: The Crimes of… GB INC/US David Yates Warner Bros. 1 825 777 7 Jurassic World: Fallen Kingdom US J.A. Bayona Universal 1 638 151 8 Jumanji: Welcome to the Jungle US Jake Kasdan Warner Bros. 1 510 844 9 The Nutcracker and the Four Realms US J. Johnston, L. Hallström Walt Disney 1 478 701

10 Mary Poppins Returns US Rob Marshall Walt Disney 1 455 921 11 A casa tutti bene (There Is No Place…) IT Gabriele Muccino 01 Distribution 1 437 629 12 The Shape of Water US Guillermo del Toro 20th Century Fox 1 363 279 13 Coco US L. Unkrich, A. Molina Walt Disney 1 327 125 14 Benedetta follia IT Carlo Verdone Filmauro/Universal 1 309 063 15 Venom US/CN Ruben Fleischer Warner Bros. 1 236 407 16 Come un gatto in tangenziale IT Riccardo Milani Vision Distribution 1 176 915 17 Wonder US Stephen Chbosky 01 Distribution 1 151 364 18 Black Panther US Ryan Coogler Walt Disney 1 064 295 19 Deadpool 2 US David Leitch 20th Century Fox 1 051 322 20 The Post US Steven Spielberg 01 Distribution 1 027 588

Spain

Population 2018 e 46.7 million

GDP per capita 2018 e 30 689 USD

Gross box office 2018 e 585.7 M EUR (691.8 M USD)

Admissions 2018 e 98.9 million

Average ticket price 2018 e 5.9 EUR (7.0 USD)

Average admissions per capita 2018 e 2.1

Screens 2017 | 2018 (1) 3 625 | 3 589

Digital screens 2017 | 2018 (2) 3 467 | 3 483

Digital 3D screens 2017 | 2018 (2) 1 130 | 1 120

Admissions and gross box office in Spain | 2014-2018 prov.

200

150

100

2014 2015 2016 2017 2018

200

400

600

800

88.0

518.2 96.1

575.2

101.8

602.0

100.2

598.9

98.9

585.7

Source: ICAA

Number of Spanish feature films produced (1) | 2014-2018 In units.

300

200

100

2014 2015 2016 2017 2018 (prov.)

224

100

254

166

254

214

279

237

264

214

Source: ICAA

Market shares 2018 e

(1) Films certified. (2) Including parity co-productions.

(1) Source: ICAA (2) Source: MEDIA Salles

Gross box office (EUR million)

Admissions (million)

Total

100% national

Others 82.4%

National 17.6%

Maj. co-prod. (2)

Min. co-prod.

Spain

Distribution and exhibition

After logging in over 100 million admissions in 2016 and 2017, Spanish cinema attendance once again dropped below this threshold in 2018 as admissions dipped 1.3% to 98.9 million. This decline comes despite the long awaited lowering of the sales tax on cinema tickets from 21% to 10%, which many had hoped would have a more positive impact on ticket sales. However, taking the upgrading efforts of several major cinema chains as a sign of a positive outlook for the future and the effect of the soccer World Cup as an explana- tion for the slight decline, market experts inter- pret 2018 results as sustaining the longer-term recovery of the Spanish theatrical market which had started in 2014. The lower sales tax was partly passed on to consumers and resulted in a slightly lower average ticket price which caused GBO to decline by 2.2% to EUR 586 million.

For the second time in the past five years the Spanish box office was topped by a US rather than a local blockbuster. J.A. Bayona’s Jurassic World: Fallen Kingdom led the charts ahead of Incredibles 2, Bohemian Rhapsody and Avengers: Infinity War. With 3.2 million tickets sold sports comedy Campeones was the most successful domestic title of 2018, ahead of the action comedy Superlópez. A total of five local films, all of which comedies, sold more than 1 million tickets, confirming the strong appeal of local comedies to Spanish audiences. In con- trast to the overall market cumulative admissions

to Spanish films increased slightly and national market share rose from 17.0% to 17.6%. UPI led the Spanish distribution market once more, cap- turing an estimated 21% of total admissions, fol- lowed by Walt Disney (19%), Hispano Foxfilms (16%) and Warner Bros. (12%).

Production and funding

Spanish film production activity remained stable with a total of 264 films certified by ICAA, the country’s national public funding body, in 2018. Over the past five years Spain saw the number of 100% national films more than double while the number of international co-productions more than halved. Boosted by tax incentives, Spain has been attracting an increasing number of foreign film and high-end TV drama shoots making it sometimes more advantageous for Spanish pro- duction companies to offer production services to international productions than to co-produce them. A new law regulating state aid came into effect in mid-2018 adapting most forms of public aid to better meet the needs of the film industry, including an increase in the maximum permitted cost limit for animation projects, which represent an important sector for the Spanish film industry.

Sources: ICAA, Spain Film Commission, Screen International, Variety, Hollywood Reporter, OBS

Top 20 films by admissions in Spain | 2018 prov.

Sources: ICAA, Comscore

Original title Country of origin Director Distributor

Admissions

1 Jurassic World: Fallen Kingdom US J.A. Bayona UPI 3 873 352 2 Incredibles 2 US Brad Bird Walt Disney 3 747 760 3 Bohemian Rhapsody GB INC/US Bryan Singer Hispano Foxfilms 3 500 206 4 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 3 446 812 5 Campeones (Champions) ES/MX Javier Fesser UPI 3 250 299 6 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Sony Pictures 2 371 174 7 Fifty Shades Freed US James Foley UPI 1 945 654 8 The Meg US/CN Jon Turteltaub Warner Bros. 1 778 964 9 Superlópez ES Javier Ruiz Caldera Walt Disney 1 776 175

10 The Nun US Corin Hardy Warner Bros. 1 754 000 11 Fantastic Beasts: The Crimes of… GB INC/US David Yates Warner Bros. 1 720 890 12 Ralph Breaks the Internet US R., P. Johnston Walt Disney 1 605 886 13 Mamma Mia! Here We Go Again US/GB/JP Ol Parker UPI 1 544 784 14 The Shape of Water US Guillermo del Toro Hispano Foxfilms 1 526 497 15 Venom US/CN Ruben Fleischer Sony Pictures 1 521 339 16 Deadpool 2 US David Leitch Hispano Foxfilms 1 510 582 17 El mejor verano de mi vida (The Best… ES Dani de la Orden A Contracorriente 1 423 546 18 Peter Rabbit US/AU Will Gluck Sony Pictures 1 293 894 19 Black Panther US Ryan Coogler Walt Disney 1 259 659 20 Perfectos desconocidos (Perfect… ES/IT Álex de la Iglesia UPI 1 257 599

United Kingdom

Population 2018 e 66.2 million GDP per capita 2018 e 40 026 USD Gross box office 2018 e 1.28 bn GBP (1.71 bn USD) Admissions 2018 e 177.0 million Average ticket price 2018 e 7.2 GBP (9.7 USD) Average admissions per capita 2018 e 2.7 Screens 2017 | 2018 (1) 4 264 | 4 340 Digital screens 2017 | 2018 (2) 4 262 | 4 424 Digital 3D screens 2017 | 2018 (2) 2 060 | 2 090

Market shares 2018 e

Admissions and gross box office in the United Kingdom | 2014-2018

100

250

150

200

2014 2015 2016 2017 2018

600

1 500

1 200

900

157.5

1 058.0

1 235.5

171.9

1 227.5

168.3

1 278.2

170.6

1 282.1

177.0

Sources: BFI, DCM/CAA, Comscore

Number of films produced in the United Kingdom | 2014-2018 prov. (1) In units.

400

300

200

100

2014 2015 2016 2017 2018 (prov.)

(1)

364

265

361

258

327

237

315

221

202

131

Source: BFI

Others 55.2%

(1) Source: BFI (2) Source: MEDIA Salles

National 44.8%

Total

100% national

Inward features (2)

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

Gross box office (GBP million)

Admissions (million)

(1) The apparent decline of film productions in 2018 is linked to a time lag in identifying film productions with budgets below GBP 500 000.

(2) Including inward investemt features except features involving only VFX work in the UK.

United Kingdom

Top 20 films by admissions in the United Kingdom & Ireland | 2018 e

Estimated admissions based on average ticket price of GBP 7.28.

Distribution and exhibition 2018 turned out to be a record year for UK

cinema. Not only was the UK the only major EU market to register an increase in admissions, UK cinema attendance reached its highest level of admissions since 1970 as admissions grew by 3.7% to 177 million tickets sold. Despite a 3.3% drop in the average ticket price from GBP 7.50 to GBP 7.24, GBO climbed to yet another record high of GBP 1.28 billion.

The UK theatrical market was once again domi- nated by US studio titles with only one indepen- dent UK film, Darkest Hour, making it into the top 20 in 2018. As elsewhere in Europe the top 20 were dominated by sequels, franchises and re- makes which took up 16 places. Thanks to the exceptionally strong performance of several US studio backed films like Avengers: Infinity War and Mamma Mia: Here We Go Again! the market share of UK qualifying films increased from 27.9% to 33.3%. At the same time the market share of independent UK films was also up from 9.5% to 11.7% leading to a cumulative market share of UK films of 44.8%. This is the highest market share since records began in 2001. Walt Disney finished as top distributor for the second year, net- ting 19.2% of total GBO in the UK and Ireland. Universal Pictures took second place (19.1%), ahead of 20th Century Fox (14.4%) and Warner Bros. (13.8%).

Production and funding

The number of UK film productions has been declining steadily over the past five years: According to BFI interim figures, a total of 202 UK feature films - including inward investment films – started principal photography in 2018, compared to 364 in 2014.

Boosted by high incentives and a compara- tively low British Pound local production spend had reached a record high of GBP 2.2 billion in 2017. Final figures are not yet available for 2018, but provisional figures show a produc- tion spend of GBP 1.92 billion (USD 2.56 billion), the second highest level on record. 25 US studio titles accounted for 74% of production spend, while 31 independent inward investment films and 130 domestic films both accounted for 12%. International co-productions (18 films) registered the lowest level in years accounting for only 1% of total spend.

In early 2019 the UK signed the updated version of the European Convention on Cinematographic Coproduction. This is interpreted by some as a symbolic step amidst Brexit discussions to con- firm the UK’s determination to continue working with Europe.

Sources: British Film Institute (BFI), DCM, Screen International, Comscore, OBS

Original title Country of origin Director

Distributor Admissions e

1 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 9 140 315 2 Mamma Mia! Here We Go Again US/GB/JP Ol Parker Universal Pictures 8 322 648 3 Incredibles 2 US Brad Bird Walt Disney 7 168 837 4 Black Panther US Ryan Coogler Walt Disney 6 563 796 5 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 6 098 004 6 The Greatest Showman US Michael Gracey 20th Century Fox 5 555 786 7 Jurassic World: Fallen Kingdom US J.A. Bayona Universal Pictures 5 296 380 8 Peter Rabbit US/AU Will Gluck Sony Pictures 5 218 399 9 Fantastic Beasts: The Crimes of… GB INC/US David Yates Warner Bros. 4 267 554

10 Deadpool 2 US David Leitch 20th Century Fox 4 228 854 11 A Star Is Born US Bradley Cooper Warner Bros. 3 384 986 12 The Grinch US/CN Y. Cheney, S. Mosier Universal Pictures 3 295 294 13 Mary Poppins Returns US Rob Marshall Walt Disney 3 245 565 14 Darkest Hour GB/US Joe Wright Universal Pictures 3 218 450 15 Mission: Impossible - Fallout US/CN/FR/NO Christopher McQuarrie Paramount 3 082 160 16 Jumanji: Welcome to the Jungle US Jake Kasdan Sony Pictures 2 607 745 17 Venom US/CN Ruben Fleischer Sony Pictures 2 570 368 18 Solo: A Star Wars Story US Ron Howard Walt Disney 2 525 893 19 Hotel Transylvania 3: Summer… US Genndy Tartakovsky Sony Pictures 2 479 780 20 Coco US L. Unkrich, A. Molina Walt Disney 2 363 367

Source: BFI, Comscore

Russian Federation

Population 2018 e 143.4 million

GDP per capita 2018 e 10 248 USD

Gross box office 2018 e 50.85 bn RUB (813 M USD)

Admissions 2018 e 202.2 million

Average ticket price 2018 e 251.5 RUB (4.0 USD)

Average admissions per capita 2018 e 1.4

Screens 2017 | 2018 (1) 4 800 | 5 215

Digital screens 2017 | 2018 (2) 4 786 | 5 215

Digital 3D screens 2017 | 2018 (2) 3 709 | 4 010

Admissions and gross box office in Russia (1) | 2014-2018

400

300

100

200

2014 2015 2016 2017 2018

20 000

60 000

40 000

50 000

30 000

43 310.5 43 908.0

48 606.8

53 290.4 50 851.2

176.1 174.0 192.8

212.2 202.2

Source: Nevafilm

Number of Russian feature films produced | 2014-2018 In units.

Market shares 2018 e

200

150

100

2014 2015 2016 2017 2018

113

0 0 0 0 0

133

115

126

111

157

135

138

123

Source: Nevafilm

(1) Source: Nevafilm (2) Source: MEDIA Salles

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

Others 71.5%

National 28.5%

Gross box office (RUB million)

Admissions (million)

Total 100% national

(1) Excluding admissions and box office for regional films and alternative content screenings.

Russian Federation

Top 20 films by admissions in the Russian Federation (1) | 2018

Sources: Nevafilm Research

Distribution and exhibition After breaking records in 2017, Russian cinema

attendance declined by 4.7% to 202 million admis- sions in 2018. This makes Russia Europe’s largest market in terms of admissions for the second con- secutive year, marginally ahead of France. GBO decreased proportionally by 4.6% to RUB 50.9 bil- lion. This is the second highest box office result in Russia’s recent history. Measured in US dol- lars however, GBO amounted to only USD 813 million which is well below the levels observed between 2011 and 2014.

As in 2017 Russian films performed exception- ally well and saved the market from a more pro- nounced decline. Three Seconds, a film celebrating Russia’s victory against the US basketball team at the 1972 Olympic Games in Munich, became a run-away success selling over 11.5 million admis- sions and topped the charts in 2018. A total of 5 Russian films featured among the top 20 and national market share jumped from 23.8% to a record high of 28.5%. This represents a significant increase in terms of both admissions and market share for Russian films which generally captured between 16% and 18% of admissions between 2010 and 2016. The growing strength of Russian cinema is driven by the increasing number of local, often patriotically themed blockbusters, as well as protectionist measures by Russia’s ministry of culture. Nevertheless US studio films continued to dominate overall box office, representing 15 out

of the top 20 titles, but cumulative admissions to US films declined as US market share decreased from 56.7% to 54.8%. This is the lowest level in the past five years. A new bill effectively restricting the screenings of films without an official exhi- bition licence in film festivals entered into force in November 2018 and may jeopardise many Russian film festivals.

Walt Disney / Sony Pictures once more led the distribution market, taking an estimated market share of 31.0% of total admissions, ahead of Central Partnership (13.6%), Caro Premier (13.5%), UPI (11.0%), and 20th Century Fox (10.2%).

Production and funding Russian film production levels – including

regional films - decreased from a record high of 157 in 2017 to 138 feature films released in 2018. This is still the second highest level regis- tered in recent history. Public support for the pro- duction and distribution of Russian films comes from the National Cinema Fund which focuses on films with larger commercial potential, and the Ministry of Culture, which is responsible e.g. for debut and experimental films. In late 2018 Russian tycoon Roman Abramovich announced the launch a private film fund with an annual budget of USD 15 million. The plan is to fund between 10 and 15 titles a year.

Sources: Nevafilm Research, Hollywood Reporter, Screen International, OBS

(1) Data refer to Commonwealth of Independent States (CIS) excluding Ukraine.

Original title Country of origin Director Distributor Admissions e

1 Dvizhenie vverkh (Three Seconds) RU Anton Megerdichev Central Partnership 11 530 709 2 Venom US/CN Ruben Fleischer Walt Disney/Sony 7 101 554 3 Avengers: Infinity War US Anthony & Joe Russo Walt Disney/Sony 6 624 683 4 Lyod (Ice) RU Oleg Trofim Walt Disney/Sony 6 080 784 5 Fantastic Beasts: The Crimes of… GB INC/US David Yates Caro Premier 5 434 293 6 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Walt Disney/Sony 5 407 301 7 Deadpool 2 US David Leitch 20 Century Fox 4 801 285 8 Jurassic World: Fallen Kingdom US J.A. Bayona UPI 4 149 122 9 Incredibles 2 US Brad Bird Walt Disney/Sony 4 055 376

10 Bohemian Rhapsody GB INC/US Bryan Singer 20 Century Fox 3 541 707 11 Aquaman AU/US James Wan Caro Premier 3 428 489 12 Black Panther US Ryan Coogler Walt Disney/Sony 3 381 540 13 The Meg US/CN Jon Turteltaub Caro Premier 3 373 181 14 Trener (The Coach) RU Danila Kozlovsky Central Partnership 3 278 691 15 Ralph Breaks the Internet US R. Moore, P. Johnston Walt Disney/Sony 3 233 929 16 Jumanji: Welcome to the Jungle US Jake Kasdan Walt Disney/Sony 3 002 937 17 Smallfoot US K. Kirkpatrick, J. Reisig Caro Premier 2 989 163 18 Tri bogatyrya i printsessa Egipta RU Konstantin Feoktistov Nashe Kino 2 909 692 19 Ant-Man and the Wasp US Peyton Reed Walt Disney/Sony 2 864 492 20 Politseyskiy s Rublyovki. Novogodniy… RU Ilya Kulikov Caroprokat 2 700 899

Poland

Distribution and exhibition

2018 was a strong year for the Polish film industry. Cinema attendance continued to grow for the fifth year in a row and reached a record high of 59.7 million admissions, up 5.5% from 2017. This is the highest level since 1989. GBO takings sur- passed the PLN 1 billion barrier for the second consecutive year, climbing by 5% to PLN 1.13 bil- lion (USD 312 million) as the average ticket price remained stable at PLN 18.9 (USD 5.2).

The increase in cinema attendance was pri- marily due to the exceptionally strong performance of Polish films. For the first time in recent history the Polish box office was topped by four domestic titles. Selling almost 5.2 million tickets in 2018, Kler (Clergy), a film based on real life scandals in the Catholic church, led the charts and became the most successful Polish film in the past decade, fol- lowed by the action drama Kobiety mafii (Women in Mafia) (2.0 million). Cumulatively Polish films sold almost 20 million admissions, 6.6 million more than in 2017. National market share hence jumped from 23.4% to 33.3% in 2018, the highest level since 2001. In contrast, admissions to US films declined somewhat leading to market shares of 52%,

down from 62%. Kino Swiat led Poland’s distribu- tion market in 2018, taking 31.7% of total admis- sions, followed by UIP (19.2%), Disney (10.1%) and Monolith (9.1%).

Production and funding

After reaching a record high of 73 films produced in 2017, Polish film production volume dropped to 42 films in 2018. The average budget of a Polish full-length feature film amounted to USD 1.4 mil- lion. Film production in Poland is publicly sup- ported by the Polish Film Institute (PISF), which has an annual budget of USD 29.5 million for pro- duction, as well as a network of 12 regional funds. From 2019 onwards Poland is offering a 30% cash rebate for incoming film, TV, documentary and animation productions that shoot in Poland. The rebate will be administered by the PISF which has an annual budget of USD 52 million for the incen- tive. The rebate is capped at USD 4 million per project. The PISF furthermore introduced a new grant category in 2018 to support micro-budget productions directed by first filmmakers.

Sources: Polish Film Institute (PISF), FilmNewEurope, Variety, OBS

(1) Source: Polski Instytut Sztuki Filmowej (PISF), OBS (2) Source: MEDIA Salles

Population 2018 e 38.0 million

GDP per capita 2018 e 15 050 USD

Gross box office 2018 e 1.1 bn PLN (312.3 M USD)

Admissions 2018 e 59.7 million

Average ticket price 2018 e 18.9 PLN (5.2 USD)

Average admissions per capita 2018 e 1.6

Screens 2017 | 2018 (1) 1 304 | 1 243

Digital screens 2017 | 2018 (2) 1 250 | 1 270

Digital 3D screens 2017 | 2018 (2) 710 | 720

National films produced 2017 | 2018 73 | 42 Others 66.8%

National 33.3%

Market shares 2018 e

Top 10 films by admissions in Poland | 2018

Original title Country of origin Director Distributor Admissions

1 Kler (Clergy) PL Wojciech Smarzowski Kino Swiat 5 183 080 2 Kobiety Mafii (Women of Mafia) PL Patryk Vega Kino Swiat 2 037 202 3 Planeta Singli 2 (Planet Single 2) PL Sam Akina Kino Swiat 1 685 864 4 Dywizjon 303. Historia prawdziwa PL/GB Denis Delic Mówi Serwis 1 516 443 5 Incredibles 2 US Brad Bird Disney 1 446 260 6 Wonder US Stephen Chbosky Monolith 1 376 894 7 Fifty Shades Freed US James Foley UIP 1 364 357 8 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky UIP 1 338 859 9 The Grinch US/CN Yarrow Cheney, Scott Mosier UIP 1 297 688

10 Bohemian Rhapsody GB INC/US Bryan Singer Imperial Cinepix 1 227 207

Sources: Polski Instytut Sztuki Filmowej (PISF)/ boxoffice.pl

Turkey

Population 2018 e 80.8 million

GDP per capita 2018 e 10 434 USD

Gross box office 2018 e 896.9 M TRY (185.0 M USD)

Admissions 2018 e 70.4 million

Average ticket price 2018 e 12.7 TRY (2.6 USD)

Average admissions per capita 2018 e 0.9

Screens 2017 | 2018 (1) 2 695 | 2 652

Digital screens 2017 | 2018 (2) 2 630 | 2 652

Digital 3D screens 2017 | 2018 (2) 680 | 704

National films released 2017 | 2018 145 | 175

Market shares 2018 e

(1) Source: DG Sinema (2) Source: MEDIA Salles

Others 36.6%

National 63.4%

Source: Antrakt - Deniz Yavuz

Distribution and exhibition 2018 was a good year for the Turkish cinema

sector. With 70.4 million tickets sold cinema atten- dance reached its second highest level since the 1980s, only 1% below 2017’s record level of 71.2 million. Boosted by an increase in the average ticket price GBO revenues actually grew by 3.0% to reach a new record high of TRY 897 million. However, measured in US dollars box office earnings actually declined by 23% due to the double-digit devaluation of the Turkish lira throughout 2018.

As in past years Turkey was the only European market where local films managed to gain a market share of over 50%. In 2018 Turkish films even accounted for all top 10 films and cumulatively captured a record market share of 63.4% of total admissions. Müslüm, a biopic about a famous Turkish singer, topped the charts selling more than 6.3 million tickets, followed by war drama Ayla (5.6 million) and the mainstream comedy Aile Arasinda (5.3 million). All top 10 titles man- aged to sell more than two million tickets cumu- latively capturing 55% of total admissions. With US films taking a further 27.5% of the market, it becomes evident that the market niche left for international and especially local art-house films is a very small one given the highly concentrated

nature of the Turkish cinema market. The distri- bution market is dominated by the vertically inte- grated CGV Mars Media Group which captured a market share of 43.5% in 2018, followed by UIP (18%) and TME Films (12%).

Production and funding

A total of 175 Turkish films were released in 2018, 30 more than in 2017. This is the highest production level in decades. In early 2019 a new cinema law was adopted and will become effec- tive as from July. Besides establishing boards to evaluate the support applications, the new law aims to put an end to the so called “popcorn” dispute which came to the fore in 2018 when leading film producers accused CGV Mars of unfair revenue sharing as CGV was selling cinema going packages which combined a discounted ticket price, which has to be shared with producers, with popcorn or other merchandise at full price. The new cinema law now prohibits the sale of cinema tickets in combination with other prod- ucts and limits the duration of ads before and during breaks at screenings.

Sources: Antrakt – Deniz Yavuz, DG Sinema, SE-YAP, Daily Sabah, Hurriety Daily

Top 10 films by admissions in Turkey | 2018

Original title Country of origin Director Distributor Admissions

1 Müslüm TR Ketche, Can Ulkay CGV Mars Dagıtım 6 311 619 TR

Ismail Fidan

CGV Mars Dagıtım

7 Aile Arasinda

Ozan Aciktan

CGV Mars Dagıtım 4 034 858 2 Arif v 216

Kivanc Baruonu

CJET 2 335 735 3 Ailecek Saskiniz

Selçuk Aydemir

CGV Mars Dagıtım 2 106 154 6 Avengers: Infinity War US Anthony & Jo Russo UIP 1 910 545

4 Yol Arkadasim 2

TR/KR

Bedran Güzel

CGV Mars Dagıtım 1 904 856 8 Hefedim Sensin TR Kivanc Baruonu CJET 1 646 492

5 Deliha 2

9 Rafadan Tayfa Dehliz Macerasi

Gupse Ozay

CGV Mars Dagıtım 1 538 932 10 Enes Batur Hayal mi Gerçek mi? Kamil Cetin Tme 1 483 598

4 968 462

TR TR

Other Western Europe

(1) In units. Including minority co-produc- tions and feature documentaries.

Admissions in selected Western European countries | 2014-2018 In millions.

2014 2015 2016 2017 2018

30.8

21.6

14.4

12.1

9.0

33.0

21.1

15.9

14.4

9.8

34.2

19.4

15.8

13.4

10.0

36.0

19.6

16.1

13.5

10.1

35.7

18.8

15.8

11.7

9.4

Sources: OFI / Cinedata, VAF, CFWB / Screen Ireland, CSA / GFC / NFF, MaccsBox - NVB & NVF / ICA / OFS / OBS

Number of feature films produced by selected Western European countries (1) | 2014-2018 In units.

120

100

2014 2015 2016 2017 2018

110

109

31 29

27 27

109

44 44

118

87 75

Sources: OFI / CFWB-VAF / Screen Ireland / GFC / NFF / ICA / OFS /OBS

Switzerland

The Netherlands Belgium

(1) National data source (2) Source: MEDIA Salles (3) 2017

Austria Ireland Portugal Greece

Austria Belgium Greece Ireland Netherlands Portugal Switzerland

Population 2018 e (million) 8.8 11.4 10.7 4.8 17.2 10.3 8.5 GDP per capita 2018 e (USD) 49 796 46 316 20 567 74 493 52 016 21 663 83 264 Gross box office 2018 (M USD) 140.0 189.0 70.9 139.6 369.0 92.6 182.7 Admissions 2018 (million) 12.9 18.8 9.4 15.8 35.7 14.7 11.7 Average ticket price 2018 (USD) 10.8 10.1 7.6 8.9 10.3 6.3 15.6 Average admissions per capita 2018 1.5 1.6 0.9 3.3 2.1 1.4 1.4 Screens 2018 e (1) 577 523 (3) 547 (3) 463 956 (3) 580 605 Digital screens 2018 (2) 576 495 444 520 970 528 582 Digital 3D screens 2018 (2) 347 180 160 266 506 255 319 National market shares 2018 e 6.2% 11.0% 7.1% 2.5% 11.2% 1.9% 8.5%

The Netherlands

Belgium e

Ireland Portugal Austria Switzerland Greece

Other Western Europe

Top 10 films by admissions in the Netherlands | 2018

Top 10 films by admissions in Portugal | 2018

Top 10 films by admissions in Belgium | 2018

Top 10 films by admissions in Austria | 2018

Sources: MaccsBox - NVB & NVF

Sources: Austrian Film Institute (OFI) / Comscore

Sources: CFWB, VAF, Cinedata

Source: ICA

Original title Country of origin Director Distributor Admissions

1 Bohemian Rhapsody GB INC/US Bryan Singer Warner Bros. 1 372 246 2 Mamma Mia! Here We Go Again US/GB/JP Ol Parker UPI 963 669 3 Fantastic Beasts: The Crimes… GB INC/US David Yates Warner Bros. 926 530 4 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 874 267 5 Incredibles 2 US Brad Bird Walt Disney 852 167 6 Jurassic World: Fallen Kingdom US J.A. Bayona UPI 805 262 7 Black Panther US Ryan Coogler Walt Disney 775 082 8 Ferdinand US Carlos Saldanha Warner Bros. 655 346 9 Mission: Impossible - Fallout US/CN/FR/NO Christopher McQuarrie UPI 636 704

10 Fifty Shades Freed US James Foley UPI 604 816

Original title Country of origin Director Distributor Admissions

1 Jurassic World: Fallen Kingdom US J.A. Bayona Sony Pictures 505 295 2 Incredibles 2 US Brad Bird Walt Disney 498 193 3 Fantastic Beasts: The Crimes… GB INC/US David Yates Warner Bros. 483 086 4 Fifty Shades Freed US James Foley Sony Pictures 455 265 5 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 453 609 6 Niet Schieten BE Stijn Coninx Kinepolis Film Distr. 375 067 7 Jumanji: Welcome to the Jungle US Jake Kasdan Sony Pictures 373 758 8 Patser (Gangsta) BE Adil El Arbi, Bilall Fallah Kinepolis Film Distr. 368 000 9 Hotel Transylvania 3: Summer… US Genndy Tartakovsky Sony Pictures 359 858

10 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 346 118

Original title Country of origin Director Distributor Admissions

1 Incredibles 2 US Brad Bird NOS Luso. Audio. 606 276 2 Bohemian Rhapsody GB INC/US Bryan Singer Big Picture 2 Films 474 015 3 Hotel Transylvania 3: Summer… US Genndy Tartakovsky Big Picture 2 Films 444 323 4 Fifty Shades Freed US James Foley NOS Luso. Audio. 430 487 5 Avengers: Infinity War US Anthony & Joe Russo NOS Luso. Audio. 408 441 6 Deadpool 2 US David Leitch Big Picture 2 Films 385 993 7 A Star Is Born US Bradley Cooper NOS Luso. Audio. 365 124 8 Mamma Mia! Here We Go Again US/GB/JP Ol Parker NOS Luso. Audio. 361 841 9 Johnny English Strikes Again GB/US/FR David Kerr NOS Luso. Audio. 323 351

10 Mission: Impossible - Fallout US/CN/FR/NO Christopher McQuarrie NOS Luso. Audio. 308 818

Original title Country of origin Director Distributor Admissions

1 Mamma Mia! Here We Go Again US/GB/JP Ol Parker Universal Pictures 480 496 2 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 411 857 3 Fifty Shades Freed US James Foley Universal Pictures 402 824 4 Fantastic Beasts: The Crimes… GB INC/US David Yates Warner Bros. 339 966 5 Hotel Transylvania 3: Summer… US Genndy Tartakovsky Sony Pictures 337 222 6 The Grinch US/CN Y. Cheney, S. Mosier Universal Pictures 333 969 7 Bohemian Rhapsody GB INC/US Bryan Singer Fox Int'l 322 633 8 Deadpool 2 US David Leitch Fox Int'l 300 581 9 Jurassic World: Fallen Kingdom US J.A. Bayona Universal Pictures 282 438

10 Incredibles 2 US Brad Bird Walt Disney 236 800

Nordic countries

(1) Including minority co-productions and feature documentaries.

Admissions in Nordic countries | 2014-2018 In millions.

2014 2015 2016 2017 2018

16.3

11.9

11.1

7.3

1.4 1.4 1.4 1.4 1.4

17.0

13.8

12.0

8.7

17.8

13.0

8.7

13.1

16.9

11.9

11.8

8.8

16.4

13.0

12.1

8.1

Sources: DFI / FFF / HI / Icelandic Film Centre / NFI / SFI / OBS

Denmark Finland Iceland Norway Sweden

Population 2018 e (million) 5.8 5.5 0.3 5.3 10.1 GDP per capita 2018 e (USD) 60 634 49 207 83 750 75 341 57 783 Gross box office 2018 (M USD) 180.0 106.7 16.7 169.2 230.7 (3)

Admissions 2018 (million) 13.0 8.1 1.4 12.1 16.4 Average ticket price 2018 (USD) 13.8 13.2 11.5 14.0 13.7 (3)

Average admissions per capita 2018 2.2 1.5 4.1 2.3 1.6 Screens 2018 e (1) 472 358 43 470 808 (4)

Digital screens 2018 (2) 470 344 43 470 841 Digital 3D screens 2018 (2) 262 229 30 301 520 National market shares 2018 e 29.8% 23.6% 11.3% 25.1% 18.7%

Number of feature films produced by Nordic countries (1) | 2014-2018 In units.

2014 2015 2016 2017 2018

Sources: DFI / FFF / Icelandic Film Centre / NFI / SFI / OBS

Sweden

Iceland

Finland

(1) National data source (2) Source: MEDIA Salles (3) 2017 (4) 2016

Denmark Norway

Norway Iceland

Denmark Sweden Finland

Nordic countries

Top 10 films by admissions in Sweden | 2018

Top 10 films by admissions in Norway | 2018

Top 10 films by admissions in Denmark | 2018

Top 10 films by admissions in Finland | 2018

Source: Swedish Film Institute

Source: Film og Kino

Sources: Statistics Denmark / DFI

Source: Finnish Film Foundation

Original title Country of origin Director Distributor Admissions

1 Mamma Mia! Here We Go Again US/GB/JP Ol Parker UIP 1 067 716 2 A Star Is Born US Bradley Cooper Warner/Fox 534 733 3 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 504 671 4 Coco US L. Unkrich, A. Molina Walt Disney 480 741 5 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 475 797 6 Black Panther US Ryan Coogler Walt Disney 450 891 7 Ted - för kärlekens skull SE Hannes Holm Fox/Nordisk 413 670 8 Incredibles 2 US Brad Bird Walt Disney 410 738 9 Jurassic World: Fallen Kingdom US J.A. Bayona UIP/Universal 391 021

10 Solsidan (Sunny Side) SE M. Herngren, F. Herngren SF Film 387 435

Original title Country of origin Director Distributor Admissions

1 Journal 64 (The Purity of Vengeance) DK/DE Christoffer Boe Nordisk Film Distr. 765 111 2 Så længe jeg lever (The Way to…) DK Ole Bornedal Nordisk Film Distr. 409 811 3 Lykke-Per (A Fortunate Man) DK Bille August Nordisk Film Distr. 394 876 4 Incredibles 2 US Brad Bird Walt Disney 381 972 5 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 363 843 6 Bohemian Rhapsody GB INC/US Bryan Singer Nordisk Film Distr. 355 766 7 Mamma Mia! Here We Go Again US/GB/JP Ol Parker UIP 348 603 8 Coco US L. Unkrich, A. Molina Walt Disney 347 683 9 Ternet ninja (Checkered Ninja) DK Christoffersen, Matthesen Nordisk Film Distr. 328 333

10 Den tid på året (That Time of Year) DK Paprika Steen Nordisk Film Distr. 327 756

Original title Country of origin Director Distributor Admissions

1 Mamma Mia! Here We Go Again US/GB/JP Ol Parker UIP 708 436 2 Skjelvet (The Quake) NO John Andreas Andersen Nordisk Film Distr. 589 620 3 Den 12. mann (The 12th Man) NO Harald Zwart Nordisk Film Distr. 426 166 4 Månelyst i Flåklypa (Louis & Luca…) NO Rasmus A. Sivertsen Nordisk Film Distr. 423 116 5 Mission: Impossible - Fallout US/CN/FR/NO Christopher McQuarrie UIP 388 901 6 Incredibles 2 US Brad Bird Walt Disney 370 939 7 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 345 559 8 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 334 967 9 The Grinch US/CN Y. Cheney, S. Mosier UIP 281 481

10 Deadpool 2 US David Leitch 20th Century Fox 275 823

Original title Country of origin Director Distributor Admissions

1 Mamma Mia! Here We Go Again US/GB/JP Ol Parker Finnkino 371 503 2 Ilosia aikoja, Mielensäpahoittaja FI Tiina Lymi Nordisk Film Theat. 347 429 3 Bohemian Rhapsody GB INC/US Bryan Singer Nordisk Film Theat. 299 906 4 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 234 354 5 BlacKkKlansman US Spike Lee Finnkino 225 554 6 Incredibles 2 US Brad Bird Walt Disney 225 421 7 Deadpool 2 US David Leitch Nordisk Film Theat. 200 140 8 Oma maa FI Markku Pölönen Nordisk Film Theat. 191 527 9 Fantastic Beasts: The Crimes of… GB INC/US David Yates SF Film Finland 169 204

10 Johnny English Strikes Again GB/US/FR David Kerr Finnkino 162 449

Baltics and Central Europe

Top 10 films by admissions in Hungary | 2018

Top 10 films by admissions in the Czech Republic | 2018

Top 10 films by admissions in Slovakia | 2018

Source: National Film Office

Sources: Czech Film Fund / Unie Filmovvych Distributoru

Source: Slovak Film Institute / UFD

(1) National data source (2) Source: MEDIA Salles

Original title Country of origin Director Distributor Admissions

1 Bohemian Rhapsody GB INC/US Bryan Singer CinemArt 1 073 638 2 Avengers: Infinity War US Anthony & Joe Russo Falcon 631 252 3 Po cem muzi touzí (What Men Long…) CZ Rudolf Havlik CinemArt 558 988 4 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Falcon 491 501 5 Fantastic Beasts: The Crimes of… GB INC/US David Yates Vertical Entertainment 473 131 6 Jurassic World: Fallen Kingdom US J.A. Bayona CinemArt 407 221 7 Venom US/CN Ruben Fleischer Falcon 388 925 8 Fifty Shades Freed US James Foley CinemArt 360 449 9 Incredibles 2 US Brad Bird Falcon 351 163

10 Tátova volha (Patrimony) CZ Jirí Vejdelek CinemArt 348 082

Original title Country of origin Director Distributor Admissions

1 Mamma Mia! Here We Go Again US/GB/JP Ol Parker UIP-Dunafilm 576 327 2 Avengers: Infinity War US Anthony & Joe Russo Forum-Hungary 573 476 3 Bohemian Rhapsody GB INC/US Bryan Singer Forum-Hungary 534 939 4 Jurassic World: Fallen Kingdom US J.A. Bayona UIP-Dunafilm 417 546 5 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Intercom 406 281 6 Deadpool 2 US David Leitch Forum-Hungary 386 405 7 Valami Amerika 3 (A Kind of America 3) HU Gábor Herendi Vertigo 372 567 8 Venom US/CN Ruben Fleischer Intercom 356 676 9 The Grinch US/CN Y. Cheney, S. Mosier UIP-Dunafilm 341 891

10 Fantastic Beasts: The Crimes of… GB INC/US David Yates Intercom 321 454

Original title Country of origin Director Distributor Admissions

1 Bohemian Rhapsody GB INC/US Bryan Singer CinemaArt 323 147 2 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Itafilm 288 582 3 A Star Is Born US Bradley Cooper Continental Film 245 785 4 Fifty Shades Freed US James Foley CinemaArt 199 327 5 Avengers: Infinity War US Anthony & Joe Russo Saturn Entertainment 182 574 6 The Grinch US/CN Y. Cheney, S. Mosier CinemaArt 147 001 7 Jurassic World: Fallen Kingdom US J.A. Bayona CinemaArt 145 250 8 Deadpool 2 US David Leitch CinemaArt 144 720 9 Fantastic Beasts: The Crimes of… GB INC/US David Yates Continental Film 136 613

10 Incredibles 2 US Brad Bird Saturn Entertainment 130 904

Czech Republic Estonia Hungary Latvia Lithuania Slovenia Slovakia

Population 2018 e (million) 10.6 1.3 9.8 1.9 2.8 2.1 5.4 GDP per capita 2018 e (USD) 22 468 21 964 14 742 17 241 18 312 19 128 25 330 Gross box office 2018 (M USD) 101.0 24.4 78.3 21.7 26.5 15.1 39.0 Admissions 2018 (million) 16.3 3.6 15.5 2.5 4.3 2.5 6.0 Average ticket price 2018 (USD) 6.2 6.7 5.1 8.6 6.2 5.9 6.5 Average admissions per capita 2018 1.5 2.8 1.6 1.3 1.5 1.2 1.1 Screens 2018 e (1) 750 66 372 66 79 108 266 Digital screens 2018 (2) 527 81 332 65 62 108 197 Digital 3D screens 2018 (2) 300 43 194 28 32 44 102 Films produced 2018 77 21 18 26 23 21 33 National market shares 2018 e 23.3% 17.9% 6.6% 22.1% 27.8% 5.3% 4.2%

South-Eastern Europe

Top 10 films by admissions in Bulgaria | 2018

Top 10 films by admissions in Romania | 2018

Top 10 films by admissions in Croatia | 2018

Source: Bulgarian National Film Center

Source: Centrul National al Cinematografiei

Source: Croatian Audiovisual Centre

Original title Country of origin Director Distributor Admissions

1 Venom US/CN Ruben Fleischer Intercomfilm 426 023 2 Avengers: Infinity War US Anthony & Joe Russo Forum Film 423 564 3 Jumanji: Welcome to the Jungle US Jake Kasdan Intercomfilm 397 872 4 Fifty Shades Freed US James Foley Ro-Image 2000 369 137 5 Bohemian Rhapsody GB INC/US Bryan Singer Odeon Cineplex 365 531 6 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Intercomfilm 362 398 7 Aquaman US James Wan Vertical Ent. 352 736 8 Deadpool 2 US David Leitch Odeon Cineplex 345 584 9 Black Panther US Ryan Coogler Forum Film 328 567

10 The Nun US Corin Hardy Vertical Ent. 302 168

Original title Country of origin Director Distributor Admissions

1 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Aleksandra 170 178 2 Avengers: Infinity War US Anthony & Joe Russo Forum Film 145 446 3 Bohemian Rhapsody GB INC/US Bryan Singer Aleksandra 142 244 4 Venom US/CN Ruben Fleischer Aleksandra 133 619 5 The Grinch US/CN Y. Cheney, S. Mosier Forum Film 128 292 6 Fifty Shades Freed US James Foley Forum Film 122 530 7 Jurassic World: Fallen Kingdom US J.A. Bayona Forum Film 117 468 8 Prityazhenie (Attraction) BG Martin Makariev BS Films 112 934 9 Incredibles 2 US Brad Bird Forum Film 107 499

10 Peter Rabbit US/AU Will Gluck Aleksandra 97 714

Original title Country of origin Director Distributor Admissions

1 Bohemian Rhapsody GB INC/US Bryan Singer Blitz Film & Video 193 487 2 The Grinch US/CN Y. Cheney, S. Mosier Editus 154 443 3 A Star Is Born US Bradley Cooper Blitz Film & Video 131 989 4 Avengers: Infinity War US Anthony & Joe Russo 2iFilm 125 962 5 Deadpool 2 US David Leitch Blitz Film & Video 122 021 6 Mamma Mia! Here We Go Again US/GB/JP Ol Parker Editus 110 995 7 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky Continental Film 106 814 8 The Nun US Corin Hardy Blitz Film & Video 90 235 9 Venom US/CN Ruben Fleischer Continental Film 88 283

10 Aquaman US James Wan Blitz Film & Video 87 820

BA (3) Bulgaria Croatia Cyprus Georgia Montenegro Romania

Population 2018 e (million) 3.5 7.1 4.1 0.9 3.7 0.6 19.5 GDP per capita 2018 e (USD) 4 837 8 701 13 958 26 742 4 529 7 623 11 817 Gross box office 2018 (M USD) 3.6 27.8 23.1 7.2 4.5 1.3 66.8 Admissions 2018 (million) 1.2 4.9 4.6 0.8 1.3 0.3 13.3 Average ticket price 2018 (USD) 3.0 5.7 5.0 9.5 3.5 4.5 5.0 Average admissions per capita 2018 0.3 0.7 1.1 0.9 0.3 0.5 0.7 Screens 2018 e (1) 34 218 185 32 26 22 404 Digital screens 2018 (2) ~ 225 185 35 26 ~ 386 Digital 3D screens 2018 (2) ~ 171 120 13 19 ~ 227 Films produced 2018 11 21 36 ~ 11 5 50 National market shares 2018 e 0.5% 7.9% 1.2% ~ 4.3% 0.4% 3.2% (1) National data source (2) Source: MEDIA Salles (3) Bosnia-Herzegovina

North America

Market shares 2018 e

Admissions and gross box office in the US & Canada | 2014-2018

1 600

1 400

1 000

1 200

2014 2015 2016 2017 2018

8 000

4 000

16 000

12 000 10 357

1 268

11 136

1 321

11 375

1 315

11 121

1 240

11 881

1 304

Source: MPAA

Number of US (1) and Canadian feature films produced | 2014-2018 In units.

400

200

1 000

800

600

2014 2015 2016 2017 2018

708

482

363

226

119

117

785

495

385

290

132

110

790

511

412

279

105

825

549

441

276

112

108

576

469

105

107

Sources: MPAA, CMPA

Others US 7.1%

Others CA (3) 96.8% National US

92.9%

National CA (3) 3.2%

Admissions (million)

Gross box office (USD million)

US films produced (3)

(1) English-language films (including co-productions). Does not include documentaries, films with budgets below USD 200 000, student films and works not intended for theatrical release.

(2) Restated series. Based on fiscal year ending in March of the stated year.

(3) MPAA stopped publishing information on films with budgets under USD 1 million.

US films with budget above USD 1 mio. US films produced by non-MPAA members (>USD 1 mio) US films produced by non-MPAA members (<USD 1 mio) (3)

US films produced by MPAA members CA films produced (2)

North America US Canada

Population 2018 e (million) 364.5 327.5 37.0 GDP per capita 2018 e (USD) 60 263 61 687 47 658 Gross box office 2018 e (M USD) (1) 11 881.4 10 867.6 1 003.3 Admissions 2018 e (million) (1) 1 304.2 1 185.1 109.4 Average ticket price 2018 e (USD) (1) 9.11 9.17 9.17 Average admissions per capita 2018 e 3.6 3.6 3.0 Screens 2018 e 43 459 40 317 3 142 Digital screens 2018 e 43 459 40 317 3 142 Digital 3D screens 2018 e 16 933 15 477 1 456 (1) North American figures differ slightly from US and Canada combined as different sources were used: MPAA for North America

and Comscore for US and CA. (2) Arithmetic mean. (3) 2017

North America

Sources: LUMIERE/OBS, Comscore

Distribution and exhibition After declining in 2017, North American GBO

rebounded in 2018, reaching a new record high of USD 11.9 billion, up 6.8% on the previous year. As the average ticket price increased only mar- ginally, the upturn in box office collections was primarily due to a rise in admissions (1.3 billion, up 5.2% compared to 2017), driven by the good box office performance of several breakout hits.

Bucking a long-established growing trend, the number of films released dropped to 758 in 2018, down from 785 in 2017. In line with pre- vious years, admissions were highly concentrated at the top end, as the top 20 films accounted for 52.9% of the total ticket sold.

Two superhero blockbusters took the top slots in the box office chart, as Black Panther ranked first (taking 76.3 million admissions), followed by Avengers: Infinity War (74.0 million admissions). Disney’s Incredibles 2 came third with 66.4 mil- lion tickets sold, becoming the highest-grossing animation film ever in North America. In Canada, the most successful local productions were three Quebec features: the comedy 1991 (325 993 admissions), followed by the biopic La Bolduc and the thriller La chute de l’empire américain.

The total number of screens increased to 43 459, with 243 new screens opening during 2018. The theatrical infrastructure in US and Canada is now fully digitised.

Production and funding

The number of US film productions with a budget of at least USD 1 million grew to 576 titles in 2018, compared to 549 for the previous year, while from 2018 figures for films with a budget under USD 1 million are no longer tracked by MPAA. The hike in the number of films produced was led by non-MPAA members (469 titles com- pared to 441 in 2017) while Hollywood major studio productions remained stable (107 titles, one less than in 2017). The US media landscape is undergoing considerable consolidation, with AT&T merging with Time Warner and Disney acquiring 20th Century Fox (which reduces the number of the largest Hollywood studios from six to five). 2019 has seen Netflix join the ranks of the MPAA; the first non-Hollywood studio to become a member of the association.

Canada produced 105 feature films during the fiscal year 2017-2018, down from 112 in 2016-2017, for a total production investment of CAD 303 million (USD 227.8 million), up 5.9% on the previous year. The investment in French-language production fell by 26% to CAD 74 million (USD 55.6 million). Public funding con- tinued to play an important role for the sector, accounting for 58% of the total financing invest- ment of Canadian feature films.

Sources: MPAA, CMPA, Telefilm Canada, Variety, The Hollywood Reporter, Comscore, Playback, OBS

Top 20 films by admissions in North America | 2018 e

Original title Country of origin Director

Distributor Admissions

1 Black Panther US Ryan Coogler Walt Disney 76 342 374 2 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 74 025 679 3 Incredibles 2 US Brad Bird Walt Disney 66 366 603 4 Jurassic World: Fallen Kingdom US J.A. Bayona Universal Pictures 45 552 863 5 Deadpool 2 US David Leitch 20th Century Fox 36 050 182 6 The Grinch US/CN Y. Cheney, S. Mosier Universal Pictures 29 275 216 7 Aquaman US James Wan Warner Bros. 24 975 015 8 Mission: Impossible - Fallout US/CN/FR/NO Christopher McQuarrie Paramount 24 008 626 9 Ant-Man and the Wasp US Peyton Reed Walt Disney 23 625 817

10 Solo: A Star Wars Story US Ron Howard Walt Disney 23 311 616 11 Venom US/CN Ruben Fleischer Sony Pictures 23 268 376 12 A Star Is Born US Bradley Cooper Warner Bros. 21 971 196 13 Jumanji: Welcome to the Jungle US Jake Kasdan Sony Pictures 21 401 036 14 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 20 858 978 15 A Quiet Place US John Krasinski Paramount 20 504 292 16 Ralph Breaks the Internet US Rich Moore, Phil Johnston Walt Disney 19 899 582 17 Crazy Rich Asians US Jon Chu Warner Bros. 18 979 777 18 Hotel Transylvania 3: Summer… US Genndy Tartakovsky Sony Pictures 18 127 986 19 Halloween US David Gordon Green Universal Pictures 17 376 447 20 Fantastic Beasts: The Crimes… GB INC/US David Yates Warner Bros. 17 165 602

Latin America

Sources: OIA (*), Comscore

Admissions in Latin America | 2014-2018 In millions.

400

200

300

100

2014 2015 2016 2017 2018

155.6

46.9

6.0

240.0

173.0

59.1

7.1

286.0

184.3

61.7

7.4

321.0

181.3

62.6

7.6

338.0

161.1

64.0

7.4

320.0 Mexico

Brazil

Colombia Peru Argentina Chile Venezuela Costa Rica

Argentina Brazil Chile Colombia Costa Rica

Population 2018 e (million) 44.6 209.2 18.6 49.8 5.0 GDP per capita 2018 e (USD) 14 342 10 514.6 14 274.4 6 472.3 12 144.5 Gross box office 2018 (M USD) 210.2 666.4 140.8 187.5 38.7 Admissions 2018 (million) 46.4 161.1 27.8 64.0 7.4 Average ticket price 2018 (USD) 4.5 4.1 5.1 2.9 5.2 Average admissions per capita 2018 1.0 0.8 1.5 1.3 1.5 Screens 2018 982 3 356 411 (1) 1 090 170 Digital screens 2018 e 939 3 356 410 (1) 1 090 155 Digital 3D screens 2018 e 560 1 756 ~ 473 9 National market shares 2018 14.7% 15.1% 2.5% e 3.4% 0.1% (1) 2017

Number of national feature films released in Latin America | 2014-2018 In units.

250

200

150

100

2014 2015 2016 2017 2018

173

114

185

133

200

142

220

160

238

171

115

Sources: OIA (*)

Argentina

Brazil

Mexico

Colombia Chile Peru Venezuela Costa Rica

(*) INCAA, ANCINE, Chilean Min. Cult., Colombian Min. Cult., CCPC, IMCINE, Peruvian Min. Cult., CNAC.

Latin America

Dominican Republic Ecuador Mexico Peru Venezuela

Population 2018 e (million) 10.3 17.0 124.7 32.2 31.8 GDP per capita 2018 e (USD) 7 733.3 5 855.9 10 020.8 6 892.2 6 528.5 Gross box office 2018 (M USD) 24.6 80.9 848.4 169.0 1.7 Admissions 2018 (million) 6.5 17.9 320.0 50.5 15.8 Average ticket price 2018 (USD) 3.8 4.5 2.7 3.3 0.1 Average admissions per capita 2018 0.6 1.1 2.6 1.6 0.5 Screens 2018 201 324 7 024 634 424 Digital screens 2018 e 201 235 7 024 634 404 Digital 3D screens 2018 e 40 142 2 518 ~ 125 National market shares 2018 21.0% 0.6% 9.0% 13.4% 5.9%

Overview

Aggregated data for the ten Latin American mar- kets covered in this report show a 6.1% decline in cumulative cinema attendance for 2018 to 717.4 million admissions, following three years of con- secutive growth. The downturn can be ascribed to a decrease in admissions in the two biggest Latin American markets, Brazil (-11.1%) and Mexico (-5.3%), but also to a slump in Venezuela (-31%). Conversely, the volume of Latin American film released in 2018 grew to a total of 700 films, up 9% on 2017 and 34% compared with 2014, driven by a hike in Mexico (+27 films), Argentina (+18) and Brazil (+11). The overall number of screens for the region increased by 4.4% to a total of 14 191 in 2018, showing 23.3% growth over the last five years.

Mexico

In 2018, cinema attendance decreased by 5.3% to 320 million tickets sold, bucking the upward trend of the three previous years. Once again, Hollywood blockbusters dominated the box office, with the 10 highest-grossing titles, all of them US films, capturing about 37% of total admissions. The national market share went down from 9% to 7% in 2018; the most successful local title in terms of admissions was the comedy Ya veremos, selling 4.1 million tickets. The number of domestic films produced rose to 186 titles (ten more than in 2017), an increase also reflected in the number of local features released (115, up from 88 in 2017). The theatrical infrastructure, fully digital since 2017, added 391 new screens in 2018.

Brazil

2018 saw Brazilian cinema attendance decrease by 11.1% to 161.1 million admissions, with GBO following suit down to BRL 2.4 billion (USD 666 million). National market share increased from

9.6% to 15.1%, driven by the exceptional suc- cess of local blockbuster Nada a perder (Nothing to Lose), ranking second in the box office chart with a total of 12.2 million tickets sold and accounting alone for about 50% of admissions to local films. Local film production has been on the rise since 2014, and a total of 171 national films received a theatrical release in 2018 (11 more titles than in 2017). Brazil unveiled 136 new screens in 2018, making a total number of 3 356. With only 16 screens per million inhabitants, one of the lowest screen densities in Latin America, the country’s theatrical infrastructure still presents scope for development. In April 2019, amid political ten- sions, the national public funding agency ANCINE announced the suspension of all its support pro- grams, following a government investigation over accounting procedures.

Argentina

Admissions in Argentina declined for the third year in a row to 46.4 million in 2018, down 6.3% on the previous year. In turn, GBO revenues increased by 13.2% to ARS 5.5 billion (USD 210 million), due to a high inflation rate in 2018. The share of admissions captured by national titles slightly increased to 14.7%, with crime drama El Ángel being the only local film in the top 10, taking 1.4 million admissions (corresponding to 20% of admissions to local films).

Production volume continued growing at a sustained pace, with the number of national film released rising to 238 titles in 2018. In 2018 ARS 1.06 trillion (USD 40.5 million) were allocated by the National Institute of Cinema and Audiovisual Arts (INCAA) in different forms of direct support to the audiovisual industry, the highest figure in the last eight years.

Sources: Observatorio Iberoamericano del Audiovisual (OIA), INCAA, IMCINE, ANCINE,

Screen International, Variety, OBS

Latin America

Top 10 films by admissions in Argentina | 2018

Top 10 films by admissions in Chile | 2018

Top 10 films by admissions in Brazil | 2018

Top 10 films by admissions in Colombia | 2018

Sources: OIA, INCAA

Source: Comscore

Sources: OIA, ANCINE

Sources: OIA, Colombian Ministry of Culture

Original title Country of origin Director Admissions

1 Incredibles 2 US Brad Bird 3 601 798 2 Coco US Lee Unkrich, Adrian Molina 3 203 429 3 Avengers: Infinity War US Anthony Russo, Joe Russo 2 915 842 4 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 2 571 868 5 Jurassic World: Fallen Kingdom US J. A. Bayona 2 363 567 6 Bohemian Rhapsody GB INC/US Bryan Singer 1 449 526 7 El Ángel (The Angel) AR/ES Luis Ortega 1 364 153 8 Jumanji: Welcome to the Jungle US Jake Kasdan 1 338 926 9 The Nun US Corin Hardy 1 173 659

10 Deadpool 2 US David Leitch 1 038 272

Original title Country of origin Director Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 2 338 642 2 Incredibles 2 US Brad Bird 1 832 336 3 Jurassic World: Fallen Kingdom US J.A. Bayona 1 467 761 4 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 1 335 777 5 Coco US Lee Unkrich, Adrian Molina 1 221 012 6 Deadpool 2 US David Leitch 1 113 689 7 Bohemian Rhapsody GB INC/US Bryan Singer 1 058 626 8 The Nun US Corin Hardy 1 047 618 9 Black Panther US Ryan Coogler 882 785

10 Ferdinand US Carlos Saldanha 756 194

Original title Country of origin Director Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 14 501 280 2 Nada a Perder (Nothing to Lose) BR Alexandre Avancini 12 184 373 3 Incredibles 2 US Brad Bird 9 809 291 4 Black Panther US Ryan Coogler 7 438 252 5 Aquaman US James Wan 5 584 309 6 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 5 375 364 7 The Nun US Corin Hardy 5 293 026 8 Jurassic World: Fallen Kingdom US J. A. Bayona 5 258 742 9 Jumanji: Welcome to the Jungle US Jake Kasdan 4 772 758

10 Venom US/CN Ruben Fleischer 4 605 459

Original title Country of origin Director Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 4 375 070 2 Incredibles 2 US Brad Bird 3 838 628 3 Jumanji: Welcome to the Jungle US Jake Kasdan 2 568 000 4 The Nun US Corin Hardy 2 477 489 5 Jurassic World: Fallen Kingdom US J. A. Bayona 2 355 807 6 Black Panther US Ryan Coogler 2 225 683 7 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 2 025 633 8 Venom US/CN Ruben Fleischer 1 814 719 9 Deadpool 2 US David Leitch 1 701 728

10 The Meg US/CN Jon Turteltaub 1 571 694

Latin America

Top 10 films by admissions in Ecuador | 2018

Top 10 films by admissions in Mexico | 2018

Top 10 films by admissions in Peru | 2018

Sources: OIA, ICCA

Sources: OIA, IMCINE

Sources: OIA, Peruvian Ministry of Culture

Original title Country of origin Director Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 1 359 828 2 Coco US Lee Unkrich, Adrian Molina 1 166 849 3 The Nun US Corin Hardy 705 861 4 Incredibles 2 US Brad Bird 702 103 5 Black Panther US Ryan Coogler 650 291 6 Jurassic World: Fallen Kingdom US J. A. Bayona 608 520 7 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 560 193 8 Venom US/CN Ruben Fleischer 486 167 9 Ralph Breaks the Internet US Rich Moore, Phil Johnston 457 778

10 Deadpool 2 US David Leitch 438 840

Original title Country of origin Director Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 21 530 855 2 Incredibles 2 US Brad Bird 15 249 092 3 Jurassic World: Fallen Kingdom US J. A. Bayona 13 768 259 4 Overboard US Rob Greenberg 11 520 860 5 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 11 007 606 6 Black Panther US Ryan Coogler 10 371 914 7 Venom US/CN Ruben Fleischer 8 911 408 8 Aquaman US James Wan 8 796 948 9 The Nun US Corin Hardy 8 421 026

10 Deadpool 2 US David Leitch 8 115 994

Original title Country of origin Director Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 3 138 943 2 ¡Asu Mare! 3 PE Jorge Ulloa 2 007 379 3 Jurassic World: Fallen Kingdom US J. A. Bayona 1 802 151 4 Incredibles 2 US Brad Bird 1 776 909 5 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 1 719 543 6 Jumanji: Welcome to the Jungle US Jake Kasdan 1 544 171 7 Venom US/CN Ruben Fleischer 1 397 814 8 Black Panther US Ryan Coogler 1 366 927 9 The Nun US Corin Hardy 1 326 577

10 The Meg US/CN Jon Turteltaub 1 220 075

Top 10 films by admissions in Venezuela | 2018

Sources: OIA, CNAC

Original title Country of origin Director Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo 1 655 346 2 Incredibles 2 US Brad Bird 1 391 712 3 Coco US Lee Unkrich, Adrian Molina 1 067 809 4 Jumanji: Welcome to the Jungle US Jake Kasdan 1 031 124 5 Hotel Transylvania 3: Summer Vacation US Genndy Tartakovsky 940 115 6 Black Panther US Ryan Coogler 730 617 7 Papita 2da Base VE Luis Carlos Hueck 708 593 8 Jurassic World: Fallen Kingdom US J. A. Bayona 569 988 9 Fifty Shades Freed US James Foley 413 284

10 The Nun US Corin Hardy 386 978

Australia and New Zealand

(1) By GBO

Admissions and gross box office in Australia and New Zealand | 2014-2018

160

120

2014 2015 2016 2017 2018

900

600

300

1 500

1 200

78.6

14.9

1 074.6

1 226.3

90.2

15.5

193.0

1 259.3

91.3

16.0

206.6

1 201.3

85.0

15.8

189.7 203.4

16.7

1 245.1

89.8

183.1

Sources: MPDAA, Screen Australia, MPDA, NZ Film Commission

Number of Australian and New Zealand feature films produced | 2014-2018 In units.

2014 2015 2016 2017 2018

Sources: Screen Australia, NZ Film Commission

(1) Films with budgets below AUD 0.5 million are only included if they had a theatrical release or major festival screening.

(2) Includes films under Australian creative control that were 100% foreign financed.

(3) Refers to the fiscal year ending that year

(4) Does not include unofficial co-productions (5) Restated series. Feature films made in New Zealand with a

theatrical release in the country or a paid screening in a NZ public film festival and/or available on a SVOD or TVOD platform; PDV only films are not included; official co-productions included.

Market shares 2018 (1) e

National AU 4.5%

National NZ 2.4%

Others AU 95.5%Others NZ

97.6%

Australia New Zealand

Population 2018 e (million) 25.1 4.9 GDP per capita 2018 e (USD) 58 940.7 44 069.3 Gross box office 2018 (M USD) 930.7 140.8 Admissions 2018 (million) 89.8 16.7 Average ticket price 2018 (USD) 10.36 8.4 Average admissions per capita 2018 3.6 3.4 Screens 2018 2 278 449 Digital screens 2018 e 2 100 449 Digital 3D screens 2018 971 184

New Zealand (5)

AU co-prod. (1)(3)(4)

AU Admissions (million)

NZ Gross box office (NZD million)

AU Gross box office (AUD million)

NZ Admissions (million)

Total Australia (1)(3)(4)

100% AU (1)(2)(3)

Australia and New Zealand

Distribution and exhibition

After dropping in 2017, Australian cinema attendances bounced back in 2018, growing by 5.6% to 89.8 million tickets sold. GBO increased by 3.6%, to AUD 1.25 billion (USD 931 million). New Zealand’s box office also went up in 2018, with admissions increasing 5.6% to 16.7 million and GBO going up 7.3% to NZD 203.4 million (USD 141 million), marking the second best year in terms of revenues after 2016.

In both markets, the uplift was driven by the success of Hollywood hits, headed by the box- office winner Avengers: Infinity War. The national market share marginally increased in both territo- ries, to reach 4.5% in Australia and 2.4% in New Zealand. In Australia the highest-grossing local titles were the US co-production Peter Rabbit and the comedy Ladies in Black, while in New Zealand The Breaker Upperer was the top domestic pro- duction in terms of box office.

Production and funding

Although in 2018 Australian production volume declined to 38 films (11 films less than in 2017), overall production spend increased by 11.8%

compared to 2017 to AUD 321 million (USD 240 million), up 28.9% on the five-year average. Co-production expenditure reached a record high of AUD 143 million (USD 107 million), driven by three Chinese and two European co-productions. In a bid to attract investments and boost the local industry, Australia has nearly doubled its shooting incentive schemes for foreign produc- tions, increasing production rebates from 16.5% to 30% on qualifying production expenditure starting from the year 2019/2020 and extending incentives to streaming platforms.

In New Zealand 25 feature films were produced in 2018, compared to 27 films the previous year. The total film production and post-production spend fell by 39.4% to NZD 295 million (USD 204 million). The New Zealand Film Commission launched initiatives aimed at supporting the Maori film industry and introduced a feature film fund for projects with at least two women in key cre- ative roles. In 2018 the country also initiated a review of the national Copyright Act.

Sources: Screen Australia, MPDAA, MPDA, NZ Film Commission, Stats NZ, Variety,

Hollywood Reporter, OBS

Top 10 films by admissions in Australia | 2018 e Estimated admissions based on average ticket price of AUD 13.9.

Top 10 films by admissions in New Zealand | 2018 e Estimated admissions based on average ticket price of NZD 12.2.

Original title Country of origin Director

Distributor Admissions e

1 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 4 463 789 2 Incredibles 2 US Brad Bird Walt Disney 3 302 213 3 Bohemian Rhapsody (1) GB INC/US Bryan Singer 20th Century Fox 3 059 785 4 Black Panther US Ryan Coogler Walt Disney 2 943 791 5 Deadpool 2 US David Leitch 20th Century Fox 2 600 915 6 Jurassic World: Fallen Kingdom US J.A. Bayona Universal 2 563 904 7 Jumanji: Welcome to the Jungle US Jake Kasdan Sony Pictures 2 375 381 8 A Star Is Born (1) US Bradley Cooper Warner Bros. 2 368 437 9 The Greatest Showman US Michael Gracey 20th Century Fox 1 990 055

10 Peter Rabbit US /AU Will Gluck Sony Pictures 1 930 066

Original title Country of origin Director

Distributor Admissions e

1 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 849 476 2 Incredibles 2 US Brad Bird Walt Disney 636 486 3 Black Panther US Ryan Coogler Walt Disney 595 280 4 Jumanji: Welcome to the Jungle (1) US Jake Kasdan Sony 558 150 5 Mamma Mia! Here We Go Again US/GB/JP Ol Parker Universal 508 958 6 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 501 920 7 A Star Is Born US Bradley Cooper Warher Bros. 444 889 8 Jurassic World: Fallen Kingdom US J.A. Bayona Universal 418 165 9 Deadpool 2 US David Leitch 20th Century Fox 409 919

10 The Greatest Showman (1) US Michael Gracey 20th Century Fox 382 987

Source: MPDAA

Source: MPDA

(1) Still grossing in 2019.

(1) Films released in late 2017. Admissions refer to lifetime box office.

People’s Republic of China

(1) As per end of June 2018. (2) 2016. (3) By GBO.

Population 2018 e 1 399 million

GDP per capita 2018 e 9 377 USD

Gross box office 2018 e 60.98 bn CNY (9.24 bn USD)

Admissions 2018 e 1.72 billion

Average ticket price 2018 e 35.5 CNY (5.4 USD)

Average admissions per capita 2018 e 1.2

Screens 2017 | 2018 e 50 776 | 60 079

Digital screens 2017 | 2018 e 47 097 | 55 623 (1)

Digital 3D screens 2017 | 2018 e (2) 32 943 | 49 000 (1)

Market shares 2018 (3)

Admissions and gross box office in China | 2014-2018 e

3 000

1 000

2 000

2014 2015 2016 2017 2018

75 000

50 000

25 000

29 640

44 092 46 000

55 900 60 980

830

1 260 1 370

1 620 1 720

Sources: China Bureau of Film, China Media Management, Variety

Number of feature films produced in China | 2014-2018 e

In units.

300

1 200

600

900

2014 2015 2016 2017 2018

618

686

944 970

1 082

Sources: China Bureau of Film, China Media Management, Variety

(1) Does not include films produced outside the official system of script and final print approval.

Others 37.8%

National 62.2%

Feature films produced (1)

Admissions (million) e

Gross box office (CNY million)

People’s Republic of China

Distribution and exhibition 2018 saw China confirming its position as

the world’s largest cinema market by number of admissions for the third year in a row. Cinema attendance increased by 6.2% on the previous year to 1.72 billion tickets sold, more than twice as many as in 2014. Chinese box office revenues increased by 9.1% in 2018 to CNY 60.98 billion (USD 9.24 billion), slowing down compared to the 21.5% growth rate registered in 2017. However, it must be noted that official Chinese box office reports for 2017 and 2018 include service fees charged by online ticketing companies, which may exaggerate the actual GBO growth.

Domestic productions captured 62.2% of total box office receipts, up from 53.8% in the previous year, with six Chinese features among the 10 top- grossing films. The action war film Operation Red Sea topped the chart with 91.8 million admissions, followed by the comedy-drama Dying to Survive (88.2 million) and Detective Chinatown 2 (86.5 million). The top-grossing US film was the latest installment of the Avengers franchise: Avengers: Infinity War, coming in fifth place with 61.9 mil- lion admissions.

The country’s theatrical infrastructure con- tinued to grow at a steady pace, with 9 303 new screens unveiled in 2018, up 18.3% on 2017, for a total of 60 079 screens nationwide.

Production and funding Production volume in China increased to 1 082

features in 2018 (112 more than in the previous year, marking a 75.1% jump compared to 2014), although only a limited number of these films received a theatrical release.

As part of a broader governmental restruc- turing, in 2018 China dissolved the country media regulator (SAPPRFT), setting up a new national Bureau of Film, under the direct jurisdiction of the Publicity Department. While the move is expected to further tighten governmental control over the film industry, the transition resulted in a slow- down of the censorship clearance process for many imported productions. The creation of an ethics committee for the Chinese film industry has been announced in response to a series of scandals and tax-evasion allegations involving high-profile personalities.

Negotiations between US and China over film import quotas and revenue-sharing for US films, initiated in 2017, are now on hold, amid polit- ical tensions between the two countries and the overhaul of the Chinese regulatory structure. In turn, China has loosened restrictions for main- land-Hong Kong co-productions.

Sources: China Bureau of Film, Variety, Screen International, IHS Markit, Comscore

English Title Country of origin Director Admissions

1 Operation Red Sea CN/MA/HK Dante Lam 91 830 774 2 Dying to Survive CN Muye Wen 88 242 511 3 Detective Chinatown 2 CN Sicheng Chen 86 470 362 4 Hello Mr. Billionaire CN Fei Yan, Da-Mo Peng 72 207 712 5 Avengers: Infinity War US Anthony Russo, Joe Russo 61 912 779 6 Monster Hunt 2 CN Raman Hui 57 448 786 7 Aquaman US James Wan 52 530 874 8 Venom US/CN Ruben Fleischer 52 036 028 9 Jurassic World: Fallen Kingdom US J.A. Bayona 47 132 372

10 Us and Them CN Rene Liu 39 753 349 11 The Island CN Bo Huang 38 760 801 12 Ready Player One US Steven Spielberg 37 751 073 13 Project Gutenberg CN/HK Felix Chong 35 207 991 14 The Ex-File 3: Return of the Exes CN Yusheng Tian 33 920 755 15 Mission: Impossible - Fallout US/CN/FR/NO Christopher McQuarrie 33 527 178 16 Rampage US Brad Peyton 28 587 808 17 The Meg US/CN Jon Turteltaub 27 239 344 18 How Long Will I Love You CN Su Lun 26 879 341 19 Secret Superstar IN Advait Chandan 24 123 307 20 Forever Young CN Fangfang Li 23 687 531

Top 20 films by admissions in China | 2018

Source: Comscore

Japan

Population 2018 e 126.4 million

GDP per capita 2018 e 40 063 USD

Gross box office 2018 222.5 bn JPY (2.02 bn USD)

Admissions 2018 169.2 million

Average ticket price 2018 1 315 JPY (11.9 USD)

Average admissions per capita 2018 1.3

Screens 2017 | 2018 3 525 | 3 561

Digital screens 2017 | 2018 3 453 | 3 494

Digital 3D screens 2017 | 2018 1 214 | 1 232

Market shares 2018 e (1)

(1) By GBO

Admissions and gross box office in Japan | 2014-2018

120

240

180

210

150

2014 2015 2016 2017 2018

150

190

170

210

230

250

161.1

207.0

217.1

166.6

235.5

180.2

228.6

174.5

222.5

169.2

Source: EIREN

Number of Japanese feature films released | 2014-2018

In units.

400

800

500

600

700

2014 2015 2016 2017 2018

615 581 610 594

613

Source: EIREN

Others 45.2%

National 54.8%

Gross box office (JPY billion)

Admissions (million)

National films

Japan

Top 20 films by admissions in Japan | 2018 e

Estimated admissions based on average ticket price of JPY 1 315.

Distribution and exhibition Japan registered a 3% dip in cinema atten-

dance in 2018. Admissions declined to 169.2 mil- lion from 174.5 million in 2017, still the third best result since 2010. Similarly, GBO dropped by 2.7% on the previous year to JPY 222.5 bil- lion (USD 2.02 billion). Once again local content dominated the box office in 2018, as Japanese films made up 31 of the 54 titles crossing the 1 JPY million benchmark, compared to 23 for- eign titles, mainly Hollywood blockbusters. The domestic market share remained stable, with local productions taking 54.8% of the GBO.

Bohemian Rhapsody topped the charts, racking up almost eight million admissions, boosted by a number of special karaoke sing-along screenings. Other top ranking imports include Jurassic World: Fallen Kingdom (6.1 million) and Star Wars: The Last Jedi, followed by the musical drama The Greatest Showman (4.0 million). The domestic hit Code Blue, a spin-off of a TV drama on a medical heli- copter team, ranked second place, with 7.1 million admissions. Among the highest-grossing domestic films were the new installments of long-running anime franchises (Detective Conan and Doraemon) as well as the 2018 Palme-d’Or-winning drama Shoplifters.

The 20 top-grossing titles accounted for 46.4% of GBO, showing a higher level of concentra- tion than in 2017 (42.9%). The country’s theat-

rical infrastructure, by now almost fully digitised (98%), underwent a marginal expansion, reaching 3 561 screens in 2018, 1% up from 3 525 in 2017.

Production and funding

The total number of film releases grew margin- ally to 1 192 films in 2018, five more than in the previous year. Notably, the number of Japanese first releases rose to 613 films, marking a 3.2% increase on 2017. Animation remains a pivotal part of the Japanese film sector. According to the Association of Japanese Animation (AJA), the coun- try’s animation industry reached a total value of over JPY 2.15 trillion (USD 19.5 billion) in 2017, showing an 8% increase on 2016, this growth mainly driven by an increase in exports (+29.6%) and streaming revenues (13%). However, only six animation features generated more than 1 JPY mil- lion, breaking down as four local animations and Disney’s Coco and Incredibles 2.

In an attempt to tackle the rampant levels of online piracy of manga and anime content, the government announced emergency measures such as restricting the access to websites that provide links for the illegal download of content under copyright as well as a comprehensive reform to Japanese copyright law.

Sources: EIREN, AJA, Variety, The Hollywood Reporter

English Title Country of origin Director Distributor Admissions

1 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 7 954 373 2 Code Blue JP Masaki Nishiura Toho 7 072 243 3 Detective Conan: Zero the Enforcer JP Yuzuru Tachikawa Toho 6 980 989 4 Jurassic World: Fallen Kingdom US J.A. Bayona Toho/Towa 6 136 882 5 Star Wars: The Last Jedi US Rian Johnson Walt Disney 5 711 027 6 Doraemon The Movie: Nobita's… JP S. Ryoo, K. Imai Toho 4 083 650 7 The Greatest Showman US Michael Gracey 20th Century Fox 3 969 582 8 Coco US L. Unkrich, A. Molina Walt Disney 3 802 281 9 Incredibles 2 US Brad Bird Walt Disney 3 726 236

10 Mission: Impossible – Fallout US/CN/FR/NO C. McQuarrie Towa Pictures 3 589 354 11 Shoplifters JP Hirokazu Koreeda Gaga 3 460 076 12 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 2 844 106 13 Gintama 2: Rules Are Made to Be… JP Yûichi Fukuda Warner Bros. 2 813 688 14 The Boss Baby US Tom McGrath Toho/Towa 2 615 970 15 Destiny: The Tale of Kamakura JP Takashi Yamazak Toho 2 441 065 16 One Cut of the Dead JP Shin'ichirô Ueda Asmic/Enbu 2 372 624 17 Pokémon the Movie: The Power of Us JP Tetsuo Yajima Toho 2 349 810 18 Killing for the Prosecution JP Masato Harada Toho 2 250 951 19 Mirai JP Mamoru Hosoda Toho 2 190 114 20 The 8-Year Engagement JP Takahisa Zeze Shochiku 2 144 487

Sources: EIREN, OBS

India

Market shares 2018

National 89%

Others 11%

Admissions and gross box office in India | 2014-2018 e

2014 2015 2016 2017 2018

120

1.94

93.5 101.4

2.07

96.3

1.86

96.3

1.91

102.1

2.02

Sources: FICCI-KPMG, FICCI-EY, IHS, OBS

Number of Indian feature films certified (1) | 2014-2018

In units.

1 000

2 000

1 500

2014 2015 2016 2017 2018

1 966

1 845 1 903

1 986

1 813

Source: Central Board of Film Certification

Admissions (billion) e

Films produced (certified)

Gross box office (INR billion) e

(1) Based on fiscal year ending in March of the stated year.

Population 2018 e 1 334.2 million

GDP per capita 2018 e 1 989.3 USD

Gross box office 2018 e 102.1 bn INR (1.5 bn USD)

Admissions 2018 e 2.02 billion

Average ticket price 2018 e 50.5 INR (0.7 USD)

Average admissions per capita 2018 e 1.5

Screens 2017 | 2018 e 11 209 | 11 280

Digital screens 2017 e | 2018 e (1) 9 530 | 9 601

3D screens 2017 | 2018 e (2) 1 183 | ~ (1) Includes E-Cinema screens (2) 2016

India

Top 10 Bollywood films by gross box office in India | 2018 GBO calculated using an average exchange rate of 1 USD = 68.38 INR.

Source: Koimoi.com

Distribution and exhibition

Theatrical revenues increased by 6.0% in 2018, with GBO crossing INR 102.1 million (USD 1.5 bil- lion). Similarly, admissions grew to an estimated 2.0 billion, up from 1.9 billion in 2017. The increase was led both by the upturn of the Hindi-language segment (Bollywood) and the good box office performance of Hollywood productions.

Domestic films accounted for 89% of the box office revenues. In particular, Bollywood films reached a record high in 2018, generating approximately 42.1% of total box office takings, in spite of representing only 13.4% of the films released. As usual, the Hindi theatrical market was highly concentrated, with the top 50 films taking about 98% of the Bollywood box office receipts. The biographical blockbuster Sanju topped the Bollywood charts, grossing more than USD 50.0 million, followed by epic period drama Padmaavat (USD 44.0 million) and action film Simmba (USD 35.2 million). Indian films in other regional lan- guages (including Tamil, Telegu and Gujarati) comprised about 81% of the titles on release and accounted for 46.9% of the box office receipts. US films, led by Avengers: Infinity War, which became

the highest grossing Hollywood film of all time in India, took 11% of the GBO while comprising only 5.6% of the films on release.

There was a marginal growth in the total number of screens in 2018, with the expansion of multi- plexes off-setting the rapid decline in the number of single screens. Screens from multiplexes con- tributed about 55% of the domestic box office receipts in 2018, representing only 29% of total screens. Low screen penetration still represents a key challenge for the Indian exhibition sector, and extensive development of the theatrical infrastruc- ture is especially needed in smaller urban centres.

Production and funding The number of domestic feature films certified

for release declined by 8.7% in 2018 to 1 813, marking a five-year low. India and China have recently been in talks over a revenue-sharing agreement for film content, as China has become the largest international market for Indian film content in terms of box office receipts, with 10 Indian titles released in China generating a total of USD 272.3 million in 2018.

Sources: CBFC, FICCI, Ernst & Young (EY), IHS Markit, OBS

(1) Version in Hindi.

Original title Country of origin Director

Gross box office (in USD)

1 Avengers: Infinity War US Anthony Russo, Joe Russo 40 413 123 2 Black Panther US Ryan Coogler 10 783 029 3 Jumanji: Welcome to the Jungle US Jake Kasdan 8 010 811 4 Ant-Man and the Wasp US Peyton Reed 6 402 391 5 Venom US/CN Ruben Fleischer 5 925 020 6 Rampage US Brad Peyton 5 253 320 7 Insidious: The Last Key US/CA Adam Robitel 2 417 897 8 Pacific Rim Uprising US/GB/JP/CN Steven S. DeKnight 2 039 814 9 Skyscraper US Rawson Marshall Thurber 1 998 901

10 The Meg US/CN Jon Turteltaub 1 464 606

Original title Country of origin Director

Gross box office (in USD)

1 Sanju IN Rajkumar Hirani 50 003 516 2 Padmaavat IN Sanjay Leela Bhansali 43 963 000 3 Simmba IN Rohit Shetty 35 202 640 4 2.0 (1) IN S. Shankar 27 550 147 5 Race 3 IN Remo D'Souza 24 765 823 6 Baaghi 2 IN Ahmed Khan 24 179 650 7 Thugs of Hindostan IN Vijay Krishna Acharya 21 291 281 8 Badhaai Ho IN Amit Ravindernath Sharma 20 047 128 9 Stree IN Amar Kaushik 18 934 864

10 Raazi IN Meghna Gulzar 18 049 742

Top 10 US films by gross box office in India | 2018

Source: Comscore

South Korea

Market shares 2018 e

Others 49.1%

National 50.9%

Admissions and gross box office in South Korea | 2014-2018

200

300

100

400

500

2014 2015 2016 2017 2018

232 232

339

494 454

Source: KOFIC

Number of Korean feature films released | 2014-2018 In units.

100

300

200

250

150

2014 2015 2016 2017 2018

1000

1500

500

2000

215.1

1 658.7 1 590.1

217.3

1 743.2

217.0

1 756.6

219.9

1 814.0

216.4

Source: KOFIC

Admissions (million)

Box Office (KRW billion)

Population 2018 e 51.7 million

GDP per capita 2018 e 30 912.2 USD

Gross box office 2018 1 814.0 bn KRW (1.71 bn USD)

Admissions 2018 216.4 million

Average ticket price 2018 8 383 KRW (7.6 USD)

Average admissions per capita 2018 4.2

Screens 2017 | 2018 2 766 | 2 937

Digital screens 2017 | 2018 2 575 | ~

Digital 3D screens 2017 | 2018 ~ | ~

South Korea

Source: KOFIC

Distribution and exhibition South Korea, which has one of the highest

cinema attendance rates per capita worldwide, registered a new box office record in 2018 as GBO grew by 3.3% on the previous year to KRW 1 814.0 billion (USD 1.71 billion). In spite of the growth in revenues, admissions dropped by 1.6%, slip- ping from 219.9 million to 216.4 million tickets.

Domestic productions took a market share of 50.9% in 2018, slightly down from 51.8% in 2017. Only four out of the top 10 titles by admissions were South Korean films, down from eight in 2017. The domestic action-fantasy Along with the Gods: The Last 49 Days was the only film to exceed 10 million admissions in 2018, topping the charts with 12.3 million tickets sold. The first episode of the same franchise (Along with the Gods: The Two Worlds), ranked fifth with 5.9 million admis- sions, followed by historical action movie The Great Battle (5.4 million admissions). In turn, five Hollywood productions earned a place among the top 10, including the latest release of the super- hero Avengers saga (ranking second place, with 11.2 million admissions), followed by Bohemian Rhapsody (9.2 million) and Mission Impossible - Fallout (6.6 million). Admissions to Korean indepen- dent and arthouse films (113 releases) slumped in 2018, decreasing by 47.9% to 1.1 million admis- sions, corresponding to 0.5% of total admissions.

2018 saw a change in leadership in the distri-

bution landscape, with Lotte becoming the top distributor capturing a market share of 17.1% of total admissions, ahead of Disney (13.9%) and CJ Entertainment (13.3%), which had led the market in past years.

Production and funding After reaching a record high in 2017, South

Korean production volume dropped to 454 films released in 2018, 40 less than in the previous year, bucking a long established upward trend. The decline affected the overall number of film releases in the country which fell to 1 646 from 1 765 in 2017.

In recent years, South Korea’s fiscal incen- tive system, providing a cash rebate of up 25% on qualified spend, has successfully attracted a series of high-profile foreign productions to shoot in the country.

The Korean Film Council (KOFIC) appointed a new chairman in 2018, after the former director resigned over a series of political and economic scandals.

Sources: Korean Film Council (KOFIC), Variety, Screen International, OBS

English title Country of origin Director Distributor Admissions

1 Along with the Gods: The Last 49 Days KR Yong-hwa Kim Lotte Entertain. 12 274 996 2 Avengers: Infinity War US Anthony & Joe Russo Walt Disney 11 212 710 3 Bohemian Rhapsody GB INC/US Bryan Singer 20th Century Fox 9 224 587 4 Mission: Impossible - Fallout US/CN/FR/NO C. McQuarrie Paramount 6 584 915 5 Along with the Gods: The Two Worlds KR Yong-hwa Kim Lotte Entertain. 5 872 007 6 Jurassic World: Fallen Kingdom US J.A. Bayona UIP 5 661 128 7 Ant-Man and the Wasp US Peyton Reed Walt Disney 5 448 134 8 The Great Battle KR Kwang-shik Kim Contents Panda 5 440 186 9 Black Panther US Ryan Coogle Walt Disney 5 399 227

10 Intimate Strangers KR J.Q. Lee Lotte Entertain. 5 293 435 11 1987: When the Day Comes KR Joon-hwan Jang CJ Entertainment 5 290 310 12 Believer KR Hae-Young Lee Contents Panda 5 063 684 13 The Spy Gone North KR Jong-bin Yoon CJ Entertainment 4 974 520 14 Venom US/CN Ruben Fleischer Sony Pictures 3 888 096 15 Dark Figure of Crime KR Tae-Gyoon Kim Showbox 3 789 321 16 Deadpool 2 US David Leitch 20th Century Fox 3 784 602 17 Default KR Kook-Hee Choi CJ Entertainment 3 747 954 18 Coco US L. Unkrich, A. Molina Walt Disney 3 510 017 19 Acquaman US James Wan Warner Bros. 3 491 860 20 Keys to the Heart KR Sung-Hyun Choi CJ Entertainment 3 419 339

Top 20 films by admissions in South Korea | 2018

Other Asia

Gross box office in selected Asian countries | 2014-2018 e In USD million. Local currencies converted at average annual exchange rates.

Number of feature films produced in selected Asian countries | 2014-2018 In units. Sources: IHS, Hong Kong Box Office, Pusbangfilm, Indonesian

Film Board, FINAS, Singapore Film Commission, Taiwan Cinema

100

350

300

150

250

200

2014 2015 2016 2017 2018

161,2 157,2 145,6

170,9 182,4

235,0

140,6

175,9 191,2 204,6

218,0

138,0

233,8

263,4

298,5 314,0

213,2 202,6

220,2 228,9

251,7

212,3

257,9 251,2

237,9 249,7

Sources: OBS, IHS, Hong Kong Box Office Ltd, Pusbangfilm, Indonesian Film Board, FINAS, Singapore Film Commission, Taiwan Cinema

150

120

2014 2015 2016 2017 2018

115

60 53

120

131

66 73

119

78 71

137

(1)

Indonesia

(1) Films released.

Philippines Taiwan Malaysia (1)

Hong Kong (1)

Thailand Singapore

Taiwan

Philippines

Singapore

Hong Kong

Malaysia

Indonesia

Hong Kong Indonesia Malaysia Philippines Singapore Taiwan Thailand Population 2018 e (million) 7.5 265.3 32.5 108.4 5.7 23.6 69.2 GDP per capita 2018 e (USD) 46 077 4 116 10 490 3 301 55 231 24 889 6 745 Gross box office 2018 e (M USD) 249.7 235.0 (2) 251.7 218.0 (1) 138.0 314.0 (1) 164.2 (3)

Admissions 2018 e (million) 25.2 89.51 (2) 77.3 85.01 (1) 19.6 34.5 (1) 32.80 (2)

Average ticket price 2018 e (USD) 9.9 2.6 3.3 2.6 (1) 7.0 9.1 (1) 4.6 (3)

Average admissions per capita 2018 e 3.4 0.3 (2) 2.4 0.8 (1) 3.4 1.5 (1) 0.5 (2)

Screens 2018 e 230 (2) 1 685 1 094 920 (1) 276 776 (2) 1154 (2)

Digital screens 2018 e 230 (2) 1 685 1 029 (2) 920 (1) 244 (2) 776 (2) 1154 (2)

3D screens 2018 e 204 (2) 825 (2) 310 (2) 164 (2) 92 (2) 468 (2) 412 (2)

National market shares 2018 e 13.0% 38.1% (2) 16.4% ~ 1.7% 17.5% (4) ~ (1) 2017 (2) 2016 (3) 2015 (4) 2014

Other Asia

Distribution and exhibition

Data on 2018 cinema attendance have not yet become available for several Asian markets, which does not allow the analysis of aggregate figures. Looking at individual countries, 2018 saw GBO increase in Hong Kong (up 5.8% to HKD 2.0 bil- lion, USD 250 million) and Malaysia (up 5.7% to MYR 1.04 billion, USD 252 million). In turn, reve- nues in Singapore dropped to SGD 186.1 million (USD 138 million), down 4.1% on 2017, despite a slight increase in cinema attendance in 2018 (up 1.0% to 19.6 million admissions).

In both Hong Kong and Singapore, Hollywood franchise titles dominated the box office charts, topped respectively by Jurassic World: Fallen Kingdom and Avengers: Infinity War. In Hong Kong, the share captured by domestic produc- tions dropped a fraction in 2018 to 13%, with comedy Agent Chan the only local title among the 10 top-grossing films for the year. In Singapore, the national market share dropped from 4.3% to 1.7%, with no national title in the top ten list. By contrast, three local films, headed by the horror movie Munafik 2, topped the box office charts in Malayisia, accounting for 61% of the receipts generated by national titles and taking

the domestic share from 5.9% to 16.4%.

Indonesia further extended its theatrical infra- structure by unveiling 273 new screens in 2018, up 19.3% on 2017 to total of 1 685.

Production and funding

In 2018, production volume increased in Indonesia (+18 films), Singapore (+2 films) and Taiwan (+7), while it declined in Malaysia (-5) and remained stable in Hong Kong.

Several markets introduced measures aimed at attracting foreign investments: Thailand inked a deal with China to set up a co-production fund for content catering to Asian audiences while Taiwan launched an international co-production film investment scheme. In 2019, the Chinese main- land reduced restrictions on co-productions with Hong Kong, removing requirements on content as well as limits in the number of Hong Kong cast and crew. Honk Kong also announced an injec- tion of HKD 1 billion (USD 128 million) into its Film Development Fund.

Sources: IHS Markit, Hong Kong Box Office Ltd, FINAS, Singapore Film Commission/IMDA, Indonesian

Film Board, Variety, Comscore, OBS

Source: Comscore

Top 10 films by admissions in Hong Kong | 2018

Top 10 films by gross box office in Singapore | 2018

Original title Country of origin Director

Distributor Admissions

1 Jurassic World: Fallen Kingdom US Juan Antonio Bayona Universal 1 075 443 2 Incredibles 2 US Brad Bird Walt Disney 1 014 723 3 Avengers: Infinity War US Joe & Anthony Russo Walt Disney 932 664 4 Along With The Gods: The Two Worlds KR Kim Yong-hwa Edko 742 298 5 Deadpool 2 US David Leitch 20th Century Fox 707 402 6 Mission: Impossible - Fallout US/CN/FR/NO C. McQuarrie Paramount 687 112 7 Ant-Man And The Wasp US Peyton Reed Walt Disney 670 087 8 Agent Mr. Chan HK Jeff Cheung China 3D 598 989 9 Black Panther US Ryan Coogler Walt Disney 595 911

10 Ready Player One US Steven Spielberg Warner Bros. 554 187

Original title Country of origin Director

Distributor Admissions

1 Avengers: Infinity War US Joe & Anthony Russo Walt Disney 1 398 959 2 Jurassic World: Fallen Kingdom US J.A. Bayona Universal 899 742 3 Black Panther US Ryan Coogler Walt Disney 876 988 4 Aquaman US James Wan Warner Bros. 773 244 5 Crazy Rich Asians US Jon M. Chu Warner Bros. 664 656 6 Mission: Impossible - Fallout US/CN/FR/NO C. McQuarrie Paramount 643 645 7 Incredibles 2 US Brad Bird Walt Disney 633 045 8 Venom US/CN Ruben Fleischer Sony Pictures 560 659 9 Ant-Man And The Wasp US Peyton Reed Walt Disney 517 378

10 Deadpool 2 US David Leitch 20th Century Fox 473 623

Africa

Gross box office in selected African countries | 2014-2018 In USD million.

Sources: CCM, NFVF, Empire Cinemas, IHS

Number of feature films produced in selected African countries | 2014-2018 In units.

2014 2015 2016 2017 2018

24 23

Sources: CCM, NFVF, IHS

(1) Films released.

(1) Includes box office from open-air screenings.

South Africa (1)

Morocco

100

2014 2015 2016 2017 2018

81.2

16.8

7.4

94.4

25.6

7.5

77.5

25.9

6.1

89.8

20.7

7.9

98.9

7.6

25.7

(1)

South Africa e

Morocco e

Egypt e

Egypt

Egypt Morocco South Africa

Population 2018 e (million) 94.4 35.2 57.4 GDP per capita 2018 e (USD) 3 685 (1) 3 368 6 292 Gross box office 2018 e (in M USD) 25.7 7.6 99.0 Admissions 2018 e (million) 6.7 1.6 19.6 Admissions per capita 2018 e 0.1 0.04 1.7 Average ticket price 2018 e (in USD) 3.9 4.9 5.0 Screens 2018 e 416 (2) 65 765 Digital screens 2018 e 166 (2) 60 765 National market shares 2018 e ~ 32.5% (3) 3.9% (3)

(1) 2016 (2) 2015 (3) By GBO

Africa

South Africa

South African GBO climbed by 9.2% in 2018 registering a new record high at ZAR 1.3 billion (USD 99 million). The hike in revenues resulted from the exceptional box office performance of superhero megahit Black Panther which topped the South African chart in 2018. In line with the previous year, domestic productions captured 3.9% of box office receipts; the comedy Frank & Fearless was the highest grossing local title for the year. Overall, 22 South African films were released (one less than in 2017).

Morocco and Egypt

Moroccan cinema attendance dropped to 1.6 million admissions in 2018, down 6.7% on the previous year. The share of domestic films rose from 28.5% to 32.5% in 2018, boosted by the success of the comedy Lahnech which topped the charts for two years in a row. After booming in 2017, production volume declined 2018, with 30 films shot, compared to 39 for the previous year. With a total of 65 screens, the country’s the- atrical infrastructure remains under-equipped in spite of a marginal increase in 2018.

Egypt’s admissions went up 10.5% to 6.7 mil- lion in 2018 as GBO reached EGP 459.3 million (USD 26 million).

Nigeria Nigerian box office revenues were on the rise

in 2018, setting a new record high at an estimated USD 13.9 million, up 25% on the previous year. In turn, the market share for domestic productions declined from almost 40% to an estimated 20%.

Nigeria’s film industry, known as ‘Nollywood’, reportedly produces around 2 000 films a year, which would make it second to Bollywood only in terms of production volume. However, given the insufficient number of screens (less than 150 servicing a population of 19.3 million in 2018), only a small part of local productions receive a theatrical release. Recently, new hopes have been placed in theatrical expansion as 12 new cinemas were opened in 2018, bringing the national total to circa 40 cinemas. 2018 also saw the creation of the Cinema Exhibitors’ Association of Nigeria, a body aimed at improving the availability and the transparency of box office data.

Sources: CCM, NFVF, Variety, IHS Markit, PwC, Ster-Kinekor, OBS

Top 10 films by gross box office in South Africa | 2018

Top 10 films by admissions in Morocco | 2018

Original title Country of origin

Gross Box Office Director (in USD)

1 Black Panther US Ryan Coogler 8 160 967 2 Avengers: Infinity War US Anthony Russo, Joe Russo 5 554 699 3 Aquaman US James Wan 4 141 520 4 Incredibles 2 US Brad Bird 4 010 956 5 Bohemian Rhapsody GB INC/US Bryan Singer 3 128 736 6 Mamma Mia! Here We Go Again US/GB/JP Ol Parker 2 580 596 7 Fifty Shades Freed US James Foley 2 528 899 8 Jurassic World: Fallen Kingdom US J. A. Bayona 2 457 026 9 Deadpool 2 US David Leitch 2 417 941

10 Tyler Perry's Acrimony US Tyler Perry 2 108 570

Original title Country of origin

Director Admissions

1 Lahnech MA Driss Mrini 203 977 2 Korsa MA Abdellah Ferkous 77 369 3 Razzia MA/FR/BE Nabil Ayouch 50 893 4 Mission: Impossible - Fallout US/CN/FR/NO Christopher McQuarrie 41 600 5 Deadpool 2 US David Leitch 32 165 6 Taxi 5 FR Franck Gastambide 31 449 7 Avengers: Infinity War US Joe Russo, Anthony Russo 30 155 8 Lhajjates MA Mohamed Achaour 29 171 9 Flatliners US/CA Niels Arden Oplev 29 016

10 Equalizer 2 US Antoine Fuqua 28 042

Source: NFVF

Source: Centre Cinématographique Marocain (CCM)

Middle East

Number of films produced in selected Middle East countries | 2014-2018 e

In units.

200

150

100

2014 2015 2016 2017 2018

124

15 15 18

110

132

169

116

Sources: Iranian Independents, Farabi Cinema Foundation, Israel Film Fund, IHS

Admissions in selected Middle Eastern countries | 2014-2018 e

In millions.

2014 2015 2016 2017 2018

12.0

3.7

14.1 13.4

13.0

3.8

16.7

25.3

16.5

14.0

3.5

22.9

20.2 20.5

16.0

4.0

28.1

14.0

3.5

Sources: Israeli Film Fund, Empire Cinemas, Iranian Independents, Farabi Cinema Foundation, IHS

(1) According to the Farabi Cinema Foundation 97 films were produced in Iran in 2014, 84 films in 2015.

Iran (1)

Lebanon e

Iran

Israel e

United Arab Emirates e

Israel Lebanon United Arab Emirated

Iran Israel Kuwait Lebanon Qatar Saudi

Arabia United Arab

Emirates Population 2018 e (million) 82.4 8.9 4.5 4.6 2.8 33.0 10.4 GDP per capita 2018 e (USD) 4 837.7 40 762.4 28 199.2 12 081.5 65 158.6 21 453.1 38 436.1 Gross box office 2018 e (in M USD) 60.9 156.0 56.7 32.6 39.5 7.9 250.3 Admissions 2018 e (million) 28.1 14.0 4.8 3.5 3.0 0.5 20.5 Admissions per capita 2018 e 0.3 1.6 1.1 0.8 1.1 0.0 2.0 Average ticket price 2018 e (USD) 2.2 11.1 11.74 9.43 13.34 16.23 12.24 Screens 2018 e 504 430 73 (1) 125 (2) 51 (2) ~ 460 (3)

Digital screens 2018 e 504 430 ~ ~ ~ ~ 460 (3)

National market shares 2018 e 92.0% 12.0% ~ 23.7% ~ ~ ~

(1) 2014 (2) 2015 (3) 2016

Middle East

Top 10 films by admissions in the United Arab Emirates | 2018

Original title Country of origin Director

Distributor Admissions

1 Mission: Impossible - Fallout US/CN/FR/NO Christopher McQuarrie Paramount 37 094 2 The Meg US/CN Jon Turteltaub Warner Bros. 35 930 3 Avengers: Infinity War US Anthony Russo, Joe Russo Walt Disney 28 269 4 Venom US/CN Ruben Fleischer Columbia 27 483 5 Jurassic World: Fallen Kingdom US J. A. Bayona Universal Pictures 26 041 6 Incredibles 2 US Brad Bird Walt Disney 24 815 7 Ant-Man And The Wasp US Peyton Reed Walt Disney 21 470 8 Ocean's Eight US Gary Ross Warner Bros. 19 904 9 Aquaman US James Wan Warner Bros. 19 677

10 Skyscraper US Rawson Marshall Thurber Universal Pictures 19 421

Original title Country of origin Director

Distributor Admissions

1 Avengers: Infinity War US Anthony Russo, Joe Russo Walt Disney 733 281 2 Mission: Impossible - Fallout US/CN/FR/NO Christopher McQuarrie Paramount 571 096 3 Jurassic World: Fallen Kingdom US J. A. Bayona Universal Pictures 542 088 4 Black Panther US Ryan Coogler Walt Disney 494 716 5 Aquaman US James Wan Warner Bros. 423 926 6 The Meg US/CN Jon Turteltaub Warner Bros. 420 093 7 Rampage US Brad Peyton Warner Bros. 387 363 8 Incredibles 2 US Brad Bird Walt Disney 378 238 9 Venom US/CN Ruben Fleischer Columbia 368 738

10 Padmaavat IN Sanjay Leela Bhansali Paramount 357 503

Source: Empire Cinemas

Top 10 films by admissions in Saudi Arabia | 2018

Source: Empire Cinemas

United Arab Emirates

In 2018 UAE cinema attendance hit a new record high at 20.5 million admissions. GBO fol- lowed suit rising by +2.4% on 2017 to UAD 919.2 million (USD 250 million). While domestic produc- tion volumes grew slowly (from 2 films produced in 2014 to 9 in 2017) film incentives made UAE an attractive shooting location for foreign pro- ductions. From 2019 onwards the DIFF (Dubai International Film Festival), the leading film fes- tival in the region, will adopt a new format, taking place once every two years instead of annually.

Israel

Israeli GBO dropped from ILS 640 to 560 million (USD 156 million) in 2018, with admissions falling by 12.5% to 14 million tickets. In turn, the share captured by domestic productions increased to 12% while the number of national film produced slightly decreased from 28 to 26. In 2018 pro- posed legislation reinforcing governmental con- trol over film funding sparked much controversy, as it would allow withholding subsidies from film projects considered critical to the Israeli State.

Iran

Iranian cinema attendance rose by 22.7% in 2018 to 28.1 million admissions, with GBO growing by 35.4% to IRR 2.5 trillion (USD 61 mil- lion). Once again, domestic titles dominated the box office, taking 92% of revenues. Local comedy Millipede was the highest-grossing title for 2018, taking a record-breaking IRR 350 billion (USD 8.7 million). According to Iranian Independents the number of domestic films produced fell from 169 to 116 in 2018, but only 61 of these films received a theatrical release in the same year.

Saudi Arabia

After lifting its ban on cinemas, Saudi Arabia re-opened its first theatre in 35 years in April 2018. Half a million tickets were sold during the year generating a GBO of SAR 29.5 million (USD 7.9 million). Mission: Impossible - Fallout led the box office charts, taking 37 094 admissions. In the Gulf’s most populated market, the comeback of cinema is expected to drive rapid expansion, as the government announced investments of USD 35 billion in multiplexes by 2020 to reach the goal of 2 500 screens over the next five years.

Sources: IHS Markit, Empire Cinemas, Iranian Independents, Israel film Fund, Variety, Screen International, The Guardian, OBS

Sources FOCUS 2019 was prepared by the European Audiovisual Observatory. We would like to thank the following sources:

National Cinema Center of Armenia

AM www.ncca.am

INCAA AR www.incaa.gov.ar Österreichisches Filminstitut (ÖFI)

AT www.filminstitut.at

MPDAA AU www.mpdaa.org.au Screen Australia AU www.screenaustralia.gov.au Sarajevo Film Festival (SFF) BA www.sff.ba Centre du cinéma et de l’audiovisuel (CFWB)

BE www.audiovisuel.cfwb.be

Vlaams Audiovisueel Fonds (VAF)

BE www.vaf.be/

Cinedata BE National Film Center (NFC) BG www.nfc.bg ANCINE BR www.ancine.gov.br Canadian Media Prod. Assoc. (CMPA)

CA www.cmpa.ca

Telefilm Canada CA www.telefilm.ca Office fédéral de la statistique (OFS)

CH www.admin.ch/bfs

Ministerio de Cultura CL https://www.cultura.gob.cl China Media Management Inc.

CN www.cmmintelligence.com

China Film Bureau CN Ministerio de Cultura CO http://www.mincultura.gov.co Centro Costarricense de Producción Cinematográfica (CCPC)

CR https://www.centrodecine. go.cr

Cyprus Ministry of Education and Culture

CY http://www.moec.gov.cy

Ministry of Culture CZ www.mkcr.cz Czech State Cinematography Fund

CZ www.fondkinematografie.cz

Unie Filmovych Distributoru (UFD)

CZ www.ufd.cz

Blickpunkt Film DE www.mediabiz.de/film/ FFA DE www.ffa.de SPIO DE www.spio.de Danish Film Institute (DFI) DK www.dfi.dk Statistics Denmark DK www.dst.dk Instituto de Cine y Creación Audiovisualiovisual (ICCA)

EC http://www.cineyaudiovisual. gob.ec

Estonian Film Institute EE www.filmi.ee Cineinforme ES www.cineytele.com/ ICAA ES www.mcu.es/cine/index.html Spain Film Commission ES http://www.shootinginspain.

info Eurostat EU ec.europa.eu/eurostat Europa Cinemas EU www.europa-cinemas.org Cineuropa EU www.cineuropa.org MEDIA Salles EU www.mediasalles.it Finnish Film Foundation (FFF) FI www.ses.fi Centre national du cinéma et de l'image animée (CNC)

FR www.cnc.fr

Le film français FR www.lefilmfrancais.com British Film Institute (BFI) GB www.bfi.org.uk Digital Cinema Media (DCM) GB www.dcm.co.uk Greek Film Center GR www.gfc.gr Hong Kong Box Office Ltd HK http://www.hkbo.com.hk Croatian Audiovisual Centre (HAVCR)

HR www.havc.hr

National Film Office (NFO) HU www.nemzetifilmiroda.hu Pusbangfilm ID https://pusbangfilm.

kemdikbud.go.id Indonesian Film Board (Badan Perfilman Indonesia/BPI)

ID https://www.bpi.or.id

Screen Ireland IE https://www.screenireland.ie Israel Film Fund IL www.filmfund.org.il/ Koimoi.com IN www.koimoi.com/ KPMG India IN www.kpmg.com/in Federation of Indian Chambers of Commerce and Industry (FICCI)

IN http://ficci.in

The Central Board of Film Certification (CBFC)

IN https://cbfcindia.gov.in

Farabi Cinema Foundation IR www.fcf.ir Iranian Independents IR Icelandic Film Centre IS www.icelandicfilmcentre.is

Hagstofa Islands (HI) IS www.statice.is ANICA IT www.anica.it Cinetel IT www.cinetel.it DGC-MiBACT IT www.cinema.beniculturali.it/ Giornale dello Spettacolo IT www.giornaledellospettacolo.it/ Motion Picture Association of Japan (EIREN)

JP www.eiren.org

The Association of Japanese Animation (AJA)

JP https://aja.gr.jp

Korean Film Council (KOFIC) KR www.koreanfilm.or.kr Empire Cinemas LB www.empire.com.lb Lithuanian Film Center LT www.lkc.lt Centre national de l’audiovisuel (CNA)

LU www.cna.public.lu

National Film Centre of Latvia (NFC)

LV www.nfc.lv

Centre Cinématographique Marocain (CCM)

MA www.ccm.ma/

Ministry of Culture ME www.mku.gov.me Macedonian Film Agency MK www.filmfund.gov.mk Malta Film Commission MT www.maltafilmcommission.com IMCINE MX www.imcine.gob.mx National Film Development Corp. of Malaysia (FINAS)

MY www.finas.gov.my

MaccsBox NL www.maccsbox.nl Nederlands Filmfonds (NFF) NL www.filmfund.nl Nederlandse Vereniging van Filmdistributeurs (NVF)

NL www.filmdistributeurs.nl

Film og Kino NO www.filmweb.no/filmogkino Norsk Filminstitutt (NFI) NO www.nfi.no New Zealand Film Commission

NZ www.nzfilm.co.nz

MPDA NZ www.mpda.org.nz Stats NZ NZ https://www.stats.govt.nz Ministerio de Cultura PE https://cultura.gob.pe/ National Statistical Coordination Board (NSCB)

PH www.nscb.gov.ph

Boxoffice.pl PL www.boxoffice.pl Film New Europe PL www.filmneweurope.com/ Polish Film Institute (PISF) PL www.pisf.pl Instituto do Cinema e do Audiovisual (ICA)

PT www.ica-ip.pt

Centrul National al Cinematografiei (CNC)

RO www.cncinema.abt.ro/

Nevafilm Research RU www.nevafilm.ru Russian Film Business Today RU www.kinobusiness.com Swedish Film Institute (SFI) SE www.sfi.se Singapore Film Commission / IMDA

SG https://www.imda.gov.sg

Slovenski Filmski Center (SFC) SI www.film-center.si Slovak Film Institute (SKFI) SK www.sfu.sk Antrakt TR www.antraktsinema.com SE-YAP TR www.se-yap.org.tr DG Sinema TR www.sinema.gov.tr/ Taiwan Cinema TW www.taiwancinema.com International Movie Database (IMDb)

US www.imdb.com

MPAA US www.mpaa.org Dirección del Cine y Audiovisual Nacional (ICAU)

UY https://icau.mec.gub.uy

Centro Nacional Autónomo de Cinematografía (CNAC)

VE http://www.cnac.gob.ve

National Film and Video Fund (NFVF)

ZA www.nfvf.co.za

Ster-Kinekor ZA https://www.sterkinekor.com PwC South Africa ZA https://www.pwc.co.za IHS Technology technology.ihs.com Screen International www.screendaily.com ComScore http://www.comscore.com The Hollywood Reporter www.hollywoodreporter.com Variety www.variety.com Observatório Iberoamericano Audiovisual (OIA)

www.oia-caci.org

LUMIERE Database www.lumiere.obs.coe.int International Monetary Fund www.imf.org UNESCO www.unesco.org

…turning

30 www.coe.int/eurimages

MAD_145-11_EURIMAGES_CANNES_AFF_155x240mm_040419_MR.indd 1 04/04/2019 17:36

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Europäische Audiovisuelle InformationsstelleEuropäische Audiovisuelle InformationsstelleEuropäische Audiovisuelle Informationsstelle

Observatoire européen de l’audiovisuelObservatoire européen de l’audiovisuel

Europäische Audiovisuelle InformationsstelleEuropäische Audiovisuelle InformationsstelleEuropäische Audiovisuelle InformationsstelleEuropäische Audiovisuelle InformationsstelleEuropäische Audiovisuelle InformationsstelleEuropäische Audiovisuelle InformationsstelleEuropäische Audiovisuelle InformationsstelleEuropäische Audiovisuelle InformationsstelleEuropäische Audiovisuelle InformationsstelleEuropäische Audiovisuelle InformationsstelleEuropäische Audiovisuelle InformationsstelleEuropäische Audiovisuelle InformationsstelleEuropäische Audiovisuelle Informationsstelle European Audiovisual Observatory

Europäische Audiovisuelle Informationsstelle European Audiovisual ObservatoryEuropean Audiovisual ObservatoryEuropean Audiovisual Observatory

Europäische Audiovisuelle Informationsstelle European Audiovisual ObservatoryEuropean Audiovisual Observatory

Europäische Audiovisuelle Informationsstelle European Audiovisual ObservatoryEuropean Audiovisual ObservatoryEuropean Audiovisual ObservatoryEuropean Audiovisual ObservatoryEuropean Audiovisual ObservatoryEuropean Audiovisual Observatory

Europäische Audiovisuelle InformationsstelleEuropäische Audiovisuelle Informationsstelle

Observatoire européen de l’audiovisuelObservatoire européen de l’audiovisuelObservatoire européen de l’audiovisuel

EUROPEAN AUDIOVISUAL OBSERVATORY CONFERENCE

Free access

FILM FINANCING – European strategies to boost

cultural diversity

This conference will look at how today’s European fi lms are fi nanced. Who are the new fi nancial players? How does public policy channel money into fi lm funds and fi nancing mechanisms? How is the structure of fi lm fi nancing in Europe changing?

9.30 – 11.30, Saturday 18 May, 2019 Olympia Cinema 5, rue de la Pompe, Cannes

Attendance free

Market, festival or press accreditation plus printed invitation necessary to attend. Come and pick up your invitation from our stand:

Stand: H3, Riviera Hall, Ground fl oor (in front of the Marina Club) Marché du fi lm Palais des Festivals

Stand telephone: +33 (0) 4 92 99 32 18

Information products and services for the audiovisual sector www.obs.coe.int

Focus 2019

30 € TTC Réf FM

F19