The closing figures for annual box office returns are starting to come in and very interesting they are. We’ve compiled an overview gleaned mainly from Cineuropa and Screen International. It’s an uneven picture with records being set in some territories and worrying falls in others.
The winners in Europe appear to be Norway, France and the Netherlands, all three experiencing their best returns for a very long time. Norway’s admissions for local films are the highest since 1976 and this is good news for the world’s first ‘digital only’ territory. Local films (40 of them released in 2011) are driving the Norwegian market. The French admissions total is the highest since 1966 at 215.6 million with 20 local films attracting over 1 million admissions each and the top two films of the year were both French – Intouchables and Rien à déclarer. In the Netherlands admissions were up to 30.4 millions – the highest figure since 1978 – with local films taking nearly 22%. It’s worth noting that these three territories are amongst the leaders in the switch to digital distribution and projection. Cineuropa also reports that the Netherlands has benefited from an expansion in screens and seats over the last 5 years. Norway is perhaps in the strongest position re the current recession but there are concerns that because local production depends on public sector funding to a large extent, the current austerity programmes may have an impact in 2012/3.
French films did well in their local market – as did Italian films (though the overall Italian market was down). In both cases American films suffered and the domestic market is down in the US to its lowest level since 1995 with admissions at 1,276 million. Box office is also down 4% and with anxiety about the decline in the DVD market, Hollywood is looking down the barrel. The studies must hope that VOD grows quickly in the next couple of years. 3D has not proved to be the magic bullet though production totals are keeping up and 3D market share is holding.
In Spain, local films increased their market share to 15% and the overall box office was up.
In Denmark, overall admissions fell slightly to 12.6 million but local films, especially comedies, took 28% of box office.
Czech Republic admissions 20% down with local films and other European films suffering most. Multiplexes have digitised projection faster than single screens and Hollywood blockbusters are benefiting. Romania is another territory where the audience is ignoring local productions in favour of Hollywood. Although Romanian productions continue to earn plaudits from film festival juries, the domestic audience for some of these films is only a few thousand.
Portuguese admissions fell by nearly 900,000 to 15.7 million with a 3% fall in takings. US films took 80% of the market, European films only 5%.
In Finland the fall was from 7.6 million to 7.1 million with local films suffering most, losing 10% of market share.
The biggest film across Europe appears to have been the final instalment in the Harry Potter franchise. This is good news for the UK film industry (which makes the films even if Hollywood takes the major profits) with The King’s Speech also doing well. Overall it’s been a good year for British film in both commercial and critical terms. Admissions rose slightly to 171 million and British films (including co-productions) took nearly a third (£295 million) of total box office. Besides The King’s Speech, the biggest winner and biggest surprise was The Inbetweeners, a TV sitcom adaptation about a group of ‘lads’ on holiday between school and university which took £70 million. The film has now been sold to an American independent but otherwise has hardly been seen outside the UK. Is this the UK equivalent of those blockbusting French hits that don’t seem to travel?
Meanwhile, Australian box office revenue is down by 3% and admissions fell by nearly 8% to 85 million (still a strong figure on a per capita basis). Screen International suggests that this fall is due to the lack of a big Hollywood box office driver like Avatar during 2011. Harry Potter was again the No 1 film. A rare Australian local success, Red Dog, took over Aus$20 million, but overall local films won less than 5% market share. In New Zealand box office revenue was down 9% in 2011.
Early reports from Japan suggest that box office will be significantly down in 2011. Mark Schilling in The Japan Times forecasts a fall of as much as 20%. Only part of this can be attributed to the tsunami and nuclear power disaster. Once again, the lack of a blockbuster title like Avatar is mentioned. Local productions have also fallen back . (But it’s worth noting that anime took the top two local slots with the latest Studio Ghibli and a new Pokemon title.) Hollywood must worry though. Japan, like Australia, is a major market and if audiences are getting fed up with sequels, the future doesn’t look good.