The MPAA has just released figures for the Top 20 film markets worldwide in 2013. The Hollywood majors are most interested in the financial return so they list markets by value:
2013 Box Office (US $ billions)
1. US & Canada 10.9
2. China 3.6
3. Japan 2.4
4. UK 1.7
5. France 1.6
6. India 1.5
7. South Korea 1.4
7. Russia 1.4
9. Germany 1.3
10. Australia 1.1
11. Brazil 0.9
11. Mexico 0.9
13. Italy 0.8
14. Spain 0.7
15. Argentina 0.4
16. Netherlands 0.3
16. Turkey 0.3
16. Taiwan 0.3
19. Sweden 0.2
19. Switzerland 0.2
19. Malaysia 0.2
The total box office worldwide was $39.5 billion.
The major caveat that needs to be noted is that these are mainly the figures collected by rental tracking agencies which are part of the Hollywood-dominated international film industry. Where such agencies don’t operate (large parts of Africa, Middle East and Asia) it is difficult to gather data on box office. Some estimates suggest that the true figure for India would be more like $3 billion. The chart does not rank film territories according to admissions. Although most ticket prices in the territories above are roughly similar at US$6-9, prices in India are lower and in Japan much higher.
The latest statistical yearbook of film in the UK is now available for free download (or online access) from the BFI website. The 2012 yearbook has all the details of film in the UK in 2011 – a particularly good year for the UK industry.
The impact of Polish migrant workers on the UK economy was a major news story in the British press a few years ago but with the onset of recession and better opportunities elsewhere it seemed like those workers might have gone home or moved elsewhere (Norway for instance now has 15% of its workforce who were born overseas). At one point Polish films were on offer (with English subs) at cinemas across the UK and there were even occasions when selected Hollywood titles were subbed or dubbed for Polish workers (Borat, if I remember correctly, was one example).
Anyway, this week’s chart news demonstrates that the Polish community in the UK is still interested in Polish films. Sztos 2 (Polish Roulette, 2012), a mainstream crime/spy comedy set in the Communist period of the early 1980s, last weekend took over $250,000 at 40 locations in the UK for a screen average of $6,225 and No 17 in the chart. That screen average was the fourth best of a week dominated by the massive splash of the Hindi Cinema remake of Agneepath which took over $10,000 per screen. I mention these two films partly because otherwise UK cinemas are awash with English-language awards contenders at this time of year and many of us feel starved of an alternative. Sztos 2 is, as the title suggests, a sequel to a 1997 hit film and for comparison it opened No 1 in Poland a week earlier at 153 locations with a screen average of $4,115 (I assume ticket prices are lower in Poland). It’s still playing at Cineworld in Bradford so I’m going to try to catch it. Here’s the UK trailer:
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.