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Summary of our market study
The French film production market is estimated at 1.7 billion euros.
The global film production market is valued at $95 billion, with an annual growth rate of around 7.%.
The COVID-19 pandemic led to a sharp drop in attendance at French cinemas, from over 213 million admissions to 65.3 million in 2020, rising to 180 million in 2023.
The rise of streaming platforms and video-on-demand (VOD) disrupts the traditional market
The French film industry is adapting with a diversification of funding, including substantial public support from the CNC alongside private investment, while maintaining a fragmented market structure with many independent companies and subsidiaries of major groups.
French demand holds up
Traditionally characterized by the presence of films in cinemas, the industry is faced with the arrival of video-on-demand platforms such as Netflix and Prime Video.
French and American films each account for 40% of market share.
The film production sector is still relatively fragmented, with a large number of small and medium-sized independent companies, production groups and subsidiaries of major audiovisual groups.
The number of employees in the French film industry has halved in ten years, to just over 5,000.
More than half of all moviegoers are occasional moviegoers.
Players in the film industry
- Netflix is a pioneer in the field of streaming platforms, constantly overturning the viewing habits of traditional cinemas.
- Disney+, the family-oriented streaming service, brings beloved characters and timeless stories into the digital realm. With an arsenal of iconic brands such as Marvel, Star Wars and Pixar at its helm, Disney+ has quickly risen to the forefront of the streaming race.
- Prime Video, an Amazon subsidiary, is adding its own range of original films and series to the streaming tapestry.
- On the terrestrial front, France Télévisions, the TF1 group and Arte dominate the TV market.
- Canal Plus Groupe, via MyCanal, merges traditional broadcasting with streaming capabilities
- Pathé Gaumont, Mediawan, UGC and EuropaCorp cover film production, distribution and exhibition
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Summary and extracts
1 Market overview
1.1 Definition and scope of study
Cinematographic production is the implementation of film projects through budget management and the search for financial and technical resources. Film producers are responsible for the production of cinematographic works, which they then sell to distributors.
A distinction is made between film production and audiovisual production.
- A cinematographic work is one "that has been approved for exhibition in France, or a foreign work that has been commercially exhibited in its country of origin";
- An audiovisual work is a program "that does not belong to one of the following genres : full-length cinematographic works; news and current affairs programs; variety shows; game shows; programs other than dramas, the majority of which are setalized; sports broadcasts; commercials; teleshopping; self-promotion; teletext services".
In simple terms, cinematographic works are characterized by their vocation to be shown in cinemas. However, the worldwide success of video-on-demand platforms such as Netflix and Prime Video is now challenging the definition of cinematographic production, as this new trend is fuelling a transformation in the way audiovisual content is consumed and produced, namely delinearization. Netflix's eviction from the Cannes Film Festival in 2019, due to its refusal to release its films in cinemas, illustrates this upheaval.However, delinearization represents a considerable opportunity, as illustrated by the coronavirus epidemicduring the coronavirus epidemic, the film industry was able to adapt by offering films released at the beginning of the year on VOD.
The global market continues to boom, particularly with the emergence of the Chinese market. The global market was valued at $94.45 billion in 2022, and is expected to grow at a CAGR of 7.21% until 2030.North America accounted for the largest market share in 2022, with 35%. The industry is one of the most competitive in the world, with a large number of players constantly striving to stand out from the crowd.
France, Europe's leading market, has suffered the full force of the health crisis, but is experiencing a very encouraging acceleration (+25% in market size between 2021 and 2022). Attendance levels are recovering increasingly rapidly, as are the number of screenings offered by cinemas, though without reaching pre-Covid figures. The balance between French and American films shown in French cinemas is shifting. the market is undergoing a veritable revolution, with the rise of streaming platforms and video-on-demand (VOD) services, while sales of films in physical format are collapsing.
The market is still highly fragmented, and benefits from a variety of sources of funding, including public funding from the CNC (Centre National du Cinéma et de l'image animée), particularly in the wake of the health crisis, to revitalize this particularly hard-hit market.
1.2 A fast-growing global market, driven by the United States
The global film and entertainment market was valued at $**.** billion in ****, and is expected to grow at a CAGR of *.**% to ****. It's a high-growth market.
Sales projections for the global film and entertainment market World, **** - ****, in $ billions Source: ****
The film and entertainment industry encompasses the production, distribution and broadcasting of ...
1.3 A healthy French market
Code **.**C - Production of motion pictures for the cinema covers the production and direction of auteur films and videos, both short and feature-length, intended primarily for theatrical release, so this is the sector we're interested in.
Size of the national film production market France, **** - ****, € billion Source: ****
The film production ...
1.4 Impact of Covid-19 on the sector
The Covid-** crisis affected the film production sector on several levels:
postponement of shoots, reshoots at extra cost; rescheduling of certain releases, with the temporary closure of cinemas, reduced capacity and the introduction of strict sanitary protocols in cinemas (***); declining investment by TV channels.
It should be noted that business in ...
2 Demand analysis
2.1 Cinema attendance still reeling from health crisis
A large part of producers' income depends on box-office takings from films shown in cinemas (***). Cinema attendance is thus a major determinant of producers' business.
Attendance at French cinemas fell by **.*% in ****, to just **.* million admissions, compared with over *** million admissions in ****. The year **** was also marked by very low attendance, ...
2.2 Changes in the French film-going population
The cinema-going population is defined as all individuals aged three and over who went to the cinema at least once during the year. Regular movie-goers are defined as those who go at least once a week, regular movie-goers as those who go at least once a month (***).
Structure of cinema-going public France, ...
2.3 The popularity of French films with audiences
In France, the majority of films shown in cinemas are French or American, and have been for a long time. American films are generally shown more than French ones, but this is not always the case. For example, in **** and ****, French films were more widely screened than American films.
Films shown ...
2.4 Film broadcasts on television
To broadcast cinematographic content, TV channels buy the rights to broadcast it. Thus, the number of films broadcast by TV channels, which depends on the amount of their investments, is another determinant of the activity of film producers.
In ****, cinematographic films accounted for only *.*% of the television offer, but *.*% of consumption ...
2.5 Falling sales of films in physical format, the rise of video-on-demand and the rise of piracy
Once a film has been shown in cinemas and/or broadcast on television, it can be released on physical media (***) or in digital format. Producers are remunerated on the basis of sales, and online film piracy is a major drawback for producers.
DVD and Blu-ray film sales have fallen sharply over ...
3 Market structure
3.1 Sector organization
The diagram below highlights the main activities carried out by film producers.
Source: ****
Producers are also in charge of mobilizing the necessary financing, both public and private.
Producers are thus upstream of the film industry, responsible for the production of works that will be exploited by various players:
cinema exhibitors ; video ...
3.2 Number of companies and associated workforce in film production
The number of establishments registered under NAF code **.**C, dedicated to the production of films for the cinema, experienced a period of decline between **** and ****, falling from *,*** to *,*** (***), before gradually increasing until today. The health crisis has had no significant effect on the sector's workforce.
Number of establishments and employees registered ...
3.3 Market concentration, filming and post-production
The film production sector in France is relatively fragmented:
numerous small- to medium-sizedindependent companies, often specialized by content type or genre; subsidiaries of major audiovisual groups, such as Canal + or TF* ; production groups, such as Gaumont, Mediawan or EuroparCorp.
In ****, *** different companies produced the *** approved French-initiative films, including ** co-delegated productions, illustrating ...
3.4 Financing film production in France
Overall, the two main sources of financing are :
contributions from French producers: **.*% in **** ; tV channels (***): **% in ****.
Forecast financing for French-initiated films France, ****, in Source: ****
However, the financing structure varies according to the type of film and its budget.
Funding for French-initiated films fell between **** and ****, reaching *** million euros (***), before falling again ...
3.5 Public funding
The CNC is a key player in the French cinematographic and audiovisual landscape, and is also involved in financing these sectors through grants. In ****, the CNC disbursed ***.* million euros in support. The breakdown by sector was as follows.
Breakdown of CNC support by sector France, ****, in Source: ****
Cinema therefore benefited most ...
4 Offer analysis
4.1 Typology of film productions
The chart below shows the breakdown of approved films by genre, with fiction dominating other genres (***).
Number of films approved by genre France, ****, in number of films Source: ****
However, there is an upward trend in the production of documentaries and animated films, although the latter are more volatile.
number of approved ...
4.2 A relatively constant number of films produced per year
In ****, French film production reached just *** approved films, down *.*% compared with the annual average of *** approved films between **** and ****. This decline follows a very dynamic ****, when filming was halted for *.* months in **** and many projects were postponed. the number of French-initiated films also fell by **.*% on the ****-**** average, to ***. However, ...
4.3 Highly fluctuating quotes
The average film estimate corresponds to the average estimate (***) after having reached its lowest level in ****. The value of the average estimate in **** was the highest it had been since ****.
Average estimates for French-initiated films France, **** - ****, in M€ Source: ****
In ****, the median estimate for French-initiated films was €*.** million, down *.*% on ...
5 Regulations
5. A sector largely dependent on public aid and subsidies
CNC's role in the industry :
The Centre National de la Cinématographie was created in ****. Its role is to manage the State's financial support for the film industry. Among the CNC's most important prerogatives are [***]:
support for film production and distribution; creation and modernization of movie the aters ; production of programs ...
6 Positioning the players
6. Segmentation
- Pathé Gaumont
- Netflix
- Canal Plus Groupe (MyCanal)
- France Télévision
- EuropaCorp
- Mediawan
- TF1 Groupe
- UGC
- Videlio
- FL Entertainment - Banijay
- Studio Canal (Canal+)
- ARP selection
- Les films du Losange
- Eddy Production
- Prime Video
- Disney+
- Arte Groupe
- Dark Matters
- Newen Studios
- Asacha Média Group
- Incognita Production Media
List of charts presented in this market study
- Size of the national film production market
- Comparison of film production activity between 2019 and 2020
- Number of establishments and employees registered under NAF code 59.11C
- Number of films approved by genre
- Number of approved documentaries and animated films
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Latest news
Audiovisual: Trévise Participations takes control of Videlio - 27/06/2024
- - Videlio's specialties: Installation and management of videoconferencing rooms, Events, Broadcast (construction of fixed or mobile control rooms, post-production)
- - Year of backing by Hivest Capital Partners: since 2021
- - New shareholder : Trévise Participations, family office of the Noisiez family
- - Reinvestment: Hivest and Talis (historical shareholder)
- - Videlio workforce: 1,000, 700 in France
- - Sales in 2023: 358 million euros
- - Share of international business: Nearly 40%
- - Market: Audiovisual equipment for cruise ships, with over two-thirds market share.
- - Number of customers : Over 8,000, including 40% of CAC 40 companies
- - Objectives of Trévise's investment: External growth in Europe, technological breakthrough, maintaining its position as a leading player in the cruise ship segment.
Dynamic in 2023, the owner of producer Banijay continues to weave his web - 08/03/2024
- The company continued to increase growth in its two core activities - audiovisual production and sports betting - and expanded its business with two acquisitions in the events sector in 2023.
- In 2023, FL Entertainment generated sales of 4.5 billion euros, an increase of 8.5%
- betclic, its sports betting division, recorded revenues close to one billion euros in 2023, an increase of 19% year-on-year.
- The number of Betclic online players has increased by 54% since 2022.
- Banijay's revenues from streaming platforms have increased by 75% since 2022
- Online casino games have seen particularly strong growth of 48%, followed by horse betting (+33%) and poker (+23%).
- These key figures can help assess the company's performance, the growth of different segments and potential market opportunities.
TF1 shifts its business model to on-demand television - 21/12/2023
- Launch of TF1+ on January 8
- MyTF1 advertising revenues: around 100 million euros per year
- Advertising revenues for group channels: just over 1.5 billion euros
- 15.000 hours of premium content on TF1+ 200 family films, 200 TV movies,
- MyTF1 is consulted 3 hours per subscriber per month
- Netflix and YouTube viewed approximately 22 hours per month
- Netflix has around 40,000 hours of programming
- Amazon and Disney+ have nearly 15,000 hours of programming
Canal+ put into orbit to make acquisitions and continue to grow - 14/12/2023
- Canal+, forty years old next year.
- Canal+ is valued at around 5.4 billion euros according to analyst consensus.
- The group has more than 25 million subscribers today, up from 11.5 million in 2016.
- It has expanded into almost 50 countries.
- It owns 32.6% of Multichoice, 26% of Viu and 12% of Viaplay.
- It has acquired Luxembourg operator M7 in 2019 and publisher SPI International in 2021.
- 515 million euros in Ebita by 2022.
- Portfolio includes channels C8, CNews, Nordic platforms Viaplay and Viu in Hong Kong, subsidiary GVA and Dailymotion.
With Authentic Prod, Banijay aims to step up its involvement in French drama - 23/11/2023
- IPO of Banijay's parent company, FL Entertainment, mid-2022.
- First external growth operation in France since the acquisition of EndemolShine's activities at the end of 2019.
- Banijay portfolio worldwide with around 50 active labels out of a total of around 130.
- Share of fiction in Banijay's revenues in France: 20%.
- Banijay's takeover of Authentic Prod: around two-thirds of the capital
- Authentic Prod has sales of around ten million euros, is profitable and plans to shoot four feature films in 2023-2024.
produtor audiovisuel Banijay diversifies its activities | Banijay diversifies its activities - 07/09/2023
- Banijay aims to achieve sales of 3.2 billion euros by 2022.
- In June, Banijay acquired the French company The Independents, specialized in luxury and lifestyle events.
- To develop its events sector, Banijay created the subsidiary Banijay Events.
- In July, Banijay acquired 51% of Balich Wonder Studio, a major organizer of events for the Olympic Games and luxury and fashion brands.
- Balich Wonder Studio generated sales of 315 million euros last year.
- Banijay Events' strategy is to capture television shows organized by Balich and to organize live events around flagship dramas.
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