French Cinema Is Thriving at Festivals but Facing an Uphill Battle in U.S. Theaters as Distributors Navigate a Shrinking Market

French Cinema Is Thriving at Festivals but Facing an Uphill Battle in U.S. Theaters as Distributors Navigate a Shrinking Market hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 7, 2026 2:59pm PT French Cinema Is Thriving at Festivals but Facing an Uphill Battle in U.S. Theaters as Distributors Navigate a Shrinking Market By Elsa Keslassy Plus Icon Elsa Keslassy International Correspondent @elsakeslassy Latest ‘Triplets of Belleville’ Director Sylvain Chomet Fires Back at AI Accusations Over Dior Film Featuring Robert Pattinson’s Voice: ‘Everything Was Drawn by Hand’ (EXCLUSIVE) 15 hours ago ‘You Can See Everything’ Sparks Frenzy in Europe as Screenings Sell Out and Anticipation Soars: ‘People Are Just Desperate to See It’ 1 day ago Paris Creator Week Aims to Become the Cannes of the Creator Economy as New Study Forecasts $1.2 Trillion Global Market 3 days ago See All Add us as a Google Preferred Source Comments French cinema may be enjoying a golden run on the festival circuit and in the awards race, but getting those films into U.S.

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theaters, and persuading American audiences to buy tickets, has become an increasingly uphill battle. That paradox was at the heart of a lively discussion at the American French Film Festival on Thursday, held in partnership with the CNC and Variety, where three veteran U.S.

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distributors painted a sobering picture of a market squeezed by shrinking theatrical opportunities. Related Stories Netflix, ‘Elite’ Star Ester Expósito and Locarno Winner Mar Coll Adapt ‘La Regenta,’ a ‘Fresh Female Perspective’ on a Big Spanish Classic (EXCLUSIVE) ‘The Diplomat,’ ‘Nobody Wants This,’ ‘East of Eden’ Among Series to Take Part in Netflix’s ‘FYSee: The Fall Edit’ Awards Showcase (EXCLUSIVE) The panel brought together Robert Aronson, executive VP of Cohen Media Group; John Gerrans, co-president of Strand Releasing; and Paul Hudson, CEO of Outsider Pictures, who have collectively brought hundreds of international films to American audiences.

The challenges extend well beyond French cinema. With fewer distributors acquiring independent films and arthouse theaters increasingly turning to mainstream Hollywood fare, even critically acclaimed movies are struggling to secure meaningful theatrical runs.

The definition of a French-language box office hit has also changed dramatically along with the health of the special market for most foreign-language films. Jean-Pierre Jeunet’s cult film “Amélie” grossed approximately $33 million domestically a quarter-century ago.

By comparison, Justine Triet’s Palme d’Or winner “Anatomy of a Fall,” one of the most successful French films of the last five years which was handled by Neon and won an Oscar, earned around $5 million in the U.S.. The most accessible French blockbusters aren’t necessarily easier to market in the U.S.

Samuel Goldwyn, whose company released Pathé’s two-part “The Three Musketeers” and “The Count of Monte Cristo,” and recently acquired Antonin Baudry’s historical epic saga “De Gaulle,” told Variety in a separate interview following the panel that these films have far broader commercial potential than their limited theatrical exposure suggests. “The only thing that makes it an arthouse movie is because it’s in a foreign language,” Goldwyn said of “De Gaulle,” adding that it could easily play on 1,000 screens if it were in English.

He’s still managed to roll out the first opus of the WWII saga into theaters this weekend across key U.S. markets simultaneously with transactional VOD.

Yet while the pool of U.S. buyers has narrowed, competition remains fierce for the most coveted titles.

Deep-pocketed players including Neon, Netflix, Mubi, A24 an

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