SECTION I: INTRODUCTION
Six years ago, when we delivered our first Market Survey to German Films, what the French call the ‘chronologie des médias’ – the licensing regulations and tacit agreements which determine the release pattern of new films in different territories – were still pretty much in place. For big movies, the Hollywood studios controlled the flow of that pattern from red-carpet premiere through to broadcasting on terrestrial TV, as though operating a spigot: gatekeepers of the movie business, they doled out their product with an eye to squeezing every last drop from a film’s value chain. For distributors of independent, arthouse and foreign-language films, the process was much the same although the emphasis was different. Whereas the studios owned world rights and conducted their international release campaigns accordingly, arthouse distributors were, in most cases, restricted to operating in one territory.
Over the past half-decade all this has changed, in ways that would have seemed unimaginable 20 years ago. The studios and the independent distributors have struggled to keep control of release patterns, inventing all kinds of devices such as the Virtual Print Fee to hold back the flood. They are still just about managing to do so, as indicated by the slow but steady growth in international box office revealed in the individual reports; some countries have bad years, but the general trend is still upwards. On the home entertainment front, however, the change has been much more visible, not unlike what happened to cinema circuits in the 1960s and 1970s. Then it was single-screen cinemas that began the decade as dream palaces and ended it as bingo halls or carpet warehouses. Now, in the teens of the 21st century, it is the CD and DVD shops that have put up the shutters. Almost all retail outlets were affected by the dawn of the digital era and the online shopping which was its most visible result; but the massive entertainment stores were hit especially hard. They simply could not compete with the ever faster deliveries offered by mega-retailers like Amazon (our email inbox currently offers us two-hour delivery on certain products). Moreover, such instant gratification has brought with it a new mind-set. Audiences are no longer content to sit back and have films distributed to them when it suits the studios: they demand that those films be delivered to them much sooner, if not immediately. It is hard to overemphasise the change here. The distributor controlled, just like they have done for a century. But the consumer now increasingly demands his or her entertainment be delivered. The balance of power has shifted – and the process still has some way to go.
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COMPARATIVE REVENUE FROM BOX OFFICE, DVD (INC BLU-RAY) AND VOD 2010-16 (IN MILLIONS OF EUROS)
Belgium Denmark 250 300 200 200 150 100 100 50 - - 2010 2011 2012 2013 2014 2015 2016 2010 2011 2012 2013 2014 2015 2016
Box office DVD VOD Box office DVD VOD
France Italy 1.500 250 200 1.000 150
500 100 50 - - 2010 2011 2012 2013 2014 2015 2016 2010 2011 2012 2013 2014 2015 2016
Box office DVD VOD Box office DVD VOD
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Netherlands UK 250 2.500 200 2.000 150 1.500 100 1.000 50 500 - - 2010 2011 2012 2013 2014 2015 2016 2010 2011 2012 2013 2014 2015 2016
Box office DVD VOD Box office DVD VOD
Sweden 400
300
200
100
- 2010 2011 2012 2013 2014 2015 2016
Box office DVD VOD
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The charts above, based on information published by the International Video Federation, make this change instantly clear. Although the IVF’s figures have been updated to 2016 for only seven territories at time of writing, the pattern is the same throughout, even if the figures vary and developments take longer to happen in some territories than in others. We are confident that other territories would show the same pattern. In the charts, DVD turnover is ahead of theatrical box office in all territories in 2010, but begins to fall away almost immediately, ending up everywhere in second or third place by 2016. At the same time, streaming revenue, negligible in 2010, begins to grow exponentially thereafter, in most cases doubling on a year-by-year basis until 2015, where it begins to level off as it becomes the norm. Box office, already the norm and not yet under threat, fluctuates around the same approximate figures in each year and territory, ending up in all seven territories very slightly higher in 2016 from what it was in 2010.
Another cornerstone of the old system now also under threat is territory-by-territory rights. Given the density of Europe’s population and the complexity of its borders, the system has never been entirely watertight: films would occasionally screen on German television before opening theatrically in say, Belgium, which lies well within German terrestrial TV’s footprint. Or cable TV regularly made BBC films available to subscribers in the Netherlands regardless of the latter’s territory rights. But streaming is, by its nature, something else: a worldwide service. And the movie business is currently adjusting to this fact in the same way the music business adapted to Napster 15 years ago: aggressively but in the end caving in out of business necessity. Or that is the expectation – as well as being the official policy of the European Union. “Great storytelling knows no borders,” EU President Jean-Pierre Juncker has declared, cloaking economic deregulation in cultural rhetoric. A single market, the theory goes, should have a single contract. Significantly, however, Hollywood studio Paramount agreed, in September 2016, no longer to put a clause into its agreements with TV channels prohibiting ‘outside-area access’ to its titles. If you can’t beat them, join them: money has always had the last word in the film business. In the post-theatrical market borders are disappearing all over the world, with broad areas of the planet – South East Asia, Latin America, Eastern and Central Europe, Scandinavia – already served by cross-border digital platforms.
For this reason, it is no longer appropriate to treat each territory separately when it comes to home entertainment. We use that term generically since it still covers both VOD and DVD: the latter may be in decline, but a total turnover in these seven territories of just under EUR 2.2 billion is far from negligible. What is more, many platforms – and especially the world leader outside China, Amazon – offer a choice between streaming, downloading or purchase of a DVD or Blu-Ray. Some (especially in France – see above) like it physical. But whereas DVD sales are occasionally published, even producers of in-house content at Netflix do not have access to details of the number of times a film or series is watched on a downloaded or streaming basis, let alone on a subscription-model VOD platform. In return for generous budgets and a hands-off attitude towards production, the platform gets to keep its audience figures – this according to the producers of hit Netflix series THE
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CROWN – a secret. Netflix may have 104 million subscribers (October 2017 figures), but what they watch is Netflix’s secret, making it impossible to apply the kind of quantitative analysis used for theatrical releases in these reports.
The European Audiovisual Observatory recently (November 2016) produced a 234-page report on the Origin of Films and TV Content in VOD Catalogues in the EU indicating what was available and what was the most promoted (a reasonable alternative to most-viewed). Keenly interested readers can consult it for themselves (it can be downloaded free of charge). The report is a mine of information, which it is beyond our remit to summarise in detail. But one set of figures recurs: the market in each territory analysed tends to break down into – as illustrated below – four very uneven groups: US films; national films (e.g. German films in Germany); other EU films; and other.
Origin of unique titles (European Audiovisual Observatory)
US National Other EU Other
Of the 45,526 unique film titles analysed by the Observatoire (see chart above), 15,339 (46%) were US; 9,187 (26%) were national; 4,080 (16%) from other EU countries; and 4,705 (14%) other. We will restrict ourselves to three observations here. One, this is remarkably similar to the breakdown of theatrical releases by country of origin in the various Market Reports. Two, since the difference between National and Other EU is between films made in one country and those made in the remaining 27, European films may not be as well represented as they at first seem. And finally, we have no idea which of any of the films were watched, how often and by whom. Beyond that, we bow to the thoroughness of the Observatoire research. But there is one more thing to be noted in this Introduction.
Set up as a DVD-rental operation in 1997, Netflix, the indisputable market leader (outside Asia) is no longer primarily a VOD site for films: the vast majority of its budget and close to 100% of its formidable promotional activities are devoted to producing and delivering its own original
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content. From epitomising Chris Anderson’s famous ‘long tail’, whereby sales were dominated by a very small number of a very long list of individual titles, Netflix has, over the past couple of years, become to all intents and purposes a TV channel relying heavily on its own content – a policy which worked very well for HBO. As Netflix’s Chief Content Officer Ted Sarandos recently (January 2017) declared, “our goal is to become HBO faster than HBO can become us”. In this model, acquisitions come a long way down the list of priorities. Or, to put it another way, Netflix no longer wants your movies: it has more than enough content of its own.
This, too, radically changes the home entertainment market, pushing producers of one-off feature films into the arms of the aggregators or, more probably, setting up a value chain in which three categories – theatrical, DVD and VOD – are merged into one, with everything but TV rights squeezed into one slot. That is how most deals are now done, with a single company acquiring theatrical, DVD and VOD rights and cashing them in all at the same time. Thus an independent/foreign-language/arthouse film is now as likely to be released on all three platforms simultaneously instead of observing the aforementioned ‘chronologie des médias’.
The market, in other words, may have become more efficient at delivering content; but there are more eggs in one basket than in the days when the studios ruled the world. What follows, in the absence of numbers, is (II) a list of the main players in the international VOD industry; (III) a provisional list of countries with the most German films on their platforms; (IV) a league table of what those films were; and finally (V) a peak under the curtain at German titles on China’s leading VOD platform.
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SECTION II: KEY PLAYERS IN HOME ENTERTAINMENT
What follows is as comprehensive a list as we can supply of the key home entertainment players in each of the territories covered by the main Market Survey. As in Sections III and IV, the data is updated to October 2016.
ARGENTINA Netflix CHINA Cablevisión Argentina Numéricable Baofeng Claro Video Plush Fun.v LAPTV Proximus TV Partout/Overal iQIYi Netflix SFR Play Ku6 Qubit-TV Telenet Yelo Play Le.com Telecom Argentina UniversCiné.be Mgtv.com Telefónica de Argentina Zive Ppty.co S6 AUSTRALIA BRAZIL Tudou Amazon Prime Amazon Prime Youku BigPond Movies Globo FetchTV Google Play COLOMBIA Foxtel Now i-Tunes Claro Video Netflix Netflix Crackle Quickflix NetMovies Movistar Play Stan Saraiva Netflix VOD.net.au SBT Retina Latina Terra RTVC BELGIUM YouTube BeTV Go Google Play i-Tunes Mobistar
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CZECH REPUBLIC FINLAND GREECE AeroVOD Amazon Prime Amazon Prime Amazon Prime BigStar BigStar Banaxi C-More NatGeo Big Star Canal Digital GO Nova on Demand Europelovescinema Elise Vidhe Aitio OnCinema Netflix Netflix OTE TV PrimaPlay SF Anytime Netflix Skylink Viaplay ParmeOdeon Voyo.cz FRANCE HONG KONG DENMARK Allo Ciné VOD Amazon Prime Amazon Prime Amazon Prime Hulu Basepoint Media Arte VOD iQIYi Canal Digital GO Canal Play VOD i-Tunes C-More FilmoTV KlowdTV D-Play France Télévisions Lettv Filmstriben.dk Google Play Netflix Headweb Imineo Vudu i-Times i-Tunes Movee Box M6 VOD ITALY Mubi Megavod All-In Movie & TV Netflix Mubi France Amazon Prime SF Anytime My TFI VOD BigStar Stofa Netflix Chili TV TDC Home Trio Orange France Infinity Viaplay SFR Google play Voddler UniversCiné France i-Tunes Video à Volonte Netflix
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Premium Net TV Bazuka HBO Nordic Sky Italia Blim i-Tunes Telecom Italia Claro Video Pleimo Wuaki TV HBO Go SF Anytime JustWatch Viaplay JAPAN Netflix Vidzone Abema TV Peliculas21 Amazon Prime Veocine POLAND Avex Vudu Amazon Prime dTV Yuzu Chili TV GYAO! Cineman Hulu NETHERLANDS Filmbox Live Netflix Amazon Prime Google Play Nico Nico Film1 Video on Demand HBO Go YouTube Google Play i-Tunes HBO Go MyPrime KOREA i-Tunes Netflix Google Play Moviemax Orange Telewizja Tu i Tam LG U+tv Netflix Picturebox Netflix Pathé Thuis Strefa Olleh TV RTL NL Toya POOQ Videoland TVP SK Telecom Wuaki TV Vevo Tving Ziggo Film Vod.pl Warner Bros Korea NORWAY MEXICO Amazon Prime Amazon Prime C-More Cinépolis Klic Google Play
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SPAIN Voddler Amazon Prime US BigStar TURKEY Amazon Prime Cineclick (Spain) Amazon Prime Artsploitation Films Cinetel Multimedia beIN Connect Cinecliq Europelovescinema Filmbox Live Cinedigm Filmin Google Play DirecTV Filmotech i-Tunes Disney Home HBO España Netflix EOne i-Tunes Pantaflix Epic Pictures Group Movistar Sfilm Fandor On Demand Netflix Tivibu FilmBuff Orange Videoclub Zoomin.tv Film Movement Televeo Freestyle Vevo UK GoDigital Viewster Amazon Prime HBO Go Wuaki TV BBC iPlayer House of Film YouTube Chili TV Hulu Zoomin.tv Curzon Home Cinema IFC Films Film Flex Jinni SWEDEN Google Play Kino Lorber Amazon Prime i-Tunes Magnet Releasing Canal Digital Go Sverige ITV Hub Magnolia On Demand C-More Microsoft Store Mance Media Filmnet Netflix Max Go Google Play Now TV M-Go i-Tunes Virgin Movies NBC SFAnytime Wuaki TV Netflix Viaplay zoomin.tv Phase 4 Films
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Redbox Viewster Screen Media Films VUDU Sony Entertainment Network WellGo USA Starz Digital Media Wolfe Releasing Target Xfinity TV Tribeca Film Universal On Demand Vevo Videojug
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SECTION III: GERMAN VOD TITLES PER TERRITORY
This list is not comprehensive but includes all 100% German or German majority films available on one or more VOD platforms in September 2016. The four Scandinavian countries (Denmark, Finland, Norway and Sweden) are treated as one territory, since viewers in all of them have access to the same platforms.
ARGENTINA FREMDE HAUT DAS BOOT GEGENÜBER DER BAADER MEINHOF KOMPLEX HANNI & NANNI DER ROTE BARON HANNI & NANNI 3 IN THE NAME OF THE KING DAS HAUS DER KROKODILE GELD HER, ODER AUFSCH’N HOMIES METAMORPHOSIS IM LABYRINTH DES SCHWEIGENS TORNADO: DER ZORN DER HIMMEL DAS KLEINE GESPENST KONFERENZ DER TIERE AUSTRALIA LOLA RENNT ER IST WIEDER DA MAX SCHMELING KONFERENZ DER TIERE NIGHT TRAIN TO LISBON THE LOST FUTURE ROMMEL MR. MORGAN’S LAST LOVE DER STAAT GEGEN FRITZ BAUER NACKT UNTER WÖLFEN TARZAN TILL EULENSPIEGEL BELGIUM DER UNTERGANG DER 7BTE ZWERG V8 - DU WILLST DAS BESTE SEIN CLOUDS OF SILS MARIA VORSTADTKROKODILE THE CUT WARUM ICH MEIN BOSS ENTFÜHRTE ELSER - ER HÄTTE DIE WELT VERÄNDERT DIE WELLE FACK JU GÖHTE YOKO
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BRAZIL HAFEN DER DÜFTEN BELTRACCHI - DIE KUNST DER FALSCHUNG HELL CAPITAL C HEUTE BIN ICH BLOND THE DIVIDE GLÜCK ER IST WIEDER DA IM LABYRINTH DES SCHWEIGENS FREIER FALL IRON DOORS HANNAH ARENDT KEINOHRHASEN DAS LEBEN DER ANDEREN DAS KLEINE GESPENST NACKT UNTER WÖLFEN KOKOWÄÄH DIE PÄPSTIN LAUF JUNGE LAUF SCHULTZE GETS THE BLUES LILA, LILA DER TEUFELSGEIGER ROTE SONNE AFRIKA DER UNTERGANG RUSSISCHE ROULETTE STALINGRAD CHINA V8 - RACHE DES NITROS ALMANYA - WILLKOMMEN IN DEUTSCHLAND VERGISS NIE, DASS ICH DICH LIEBE ARENA OF THE STREET FIGHTER DIE VIERTE MACHT BERLIN ’36 VOM SUCHEN UND FINDEN DER LIEBE BOLLYWOOD LÄSST ALPEN GLÜHEN WAFFENSTILLSTAND CITIZENFOUR WER FRÜHER STIRBT IST LÄNGER TOT DEVOT WHO AM I - KEIN SYSTEM IST SICHER DU HAST ES VERSPROCHEN DAS WILDE LEBEN FEUERHERZ WIR WOLLTEN AUFS MEER FRIEDLICHE ZEITEN FUNNYMOVIE COLOMBIA GEHEIMCODE WOLFSJAGD THE INTERNATIONAL GOODBYE BAFANA DAS PARFUM - DIE GESCHICHTE EINES MÖRDERS GNADE TARZAN DAS GRÜNE WUNDER - UNSER WALD
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CZECH REPUBLIC VORSTADTKROKODILE 2 ABSURDISTAN VORSTADTKROKODILE 3 DIE ABENTEUER DES HUCK FINN DAS WEISSE BAND ANONYMA - EINE FRAU IN BERLIN DER WIXXER AUF DER ANDEREN SEITE ZÄRTLICHE CHAOTEN DREI ZWEI NASEN TANKEN SUPER DRESDEN ZWÖLF METER OHNE KOPF EFFI BRIEST FACK JU GÖHTE DENMARK, FINLAND, NORWAY, SWEDEN FACK JU GÖHTE 2 BELTRACCHI - DIE KUNST DER FÄLSCHUNG FINAL CONTRACT: DEATH ON DELIVERY CAPITAL C FREIER FALL THE GREEN PRINCE HALT AUF FREIER STRECKE KREUZWEG HEADHUNTER: THE ASSESSMENT WEEKEND NACKT UNTER WÖLFEN JOHN RABE DAS LEBEN DER ANDEREN FRANCE DER MEDICUS AUF DER SUCHE MEIN BRUDER IST EIN HUND DIE BIENE MAJA - DER KINOFILM MEIN FÜHRER - DIE WIRKLICH WAHRSTE WAHRHEIT ÜBER CARGO ADOLF HITLER DIE DREI RÄUBER MORGEN IHR LUSCHEN! DER AUSBILDER-SCHMIDT FILM ER IST WIEDER DA NANGA PARBAT JERICHOW NANCY & FRANK: A MANHATTAN LOVE STORY SHAHADA NICHT MEIN TAG THE THREE MUSKETEERS DER ROTE BARON SOMMERSTURM ITALY DIE SUPERNASEN DER 7BTE ZWERG DIE TÜR CITIZENFOUR VORSTADTKROKODILE EVERY THING WILL BE FINE
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IM LABYRINTH DES SCHWEIGENS MR. MORGAN’S LAST LOVE OOOPS! DIE ARCHE IST WEG NIGHT TRAIN TO LISBON TODESLAGER SACHSENHAUSEN VICTORIA WICKIE AUF GROSSER FAHRT WICKIE UND DIE STARKEN MÄNNER POLAND DER 7BTE ZWERG JAPAN 80 MINUTES CAPITAL C ALLES AUF ZUCKER CLOUD ATLAS AM ENDE KOMMEN TOURISTEN EL BULLI - COOKING IN PROGRESS AUF DER ANDEREN SEITE DER ROTE BARON BERLIN CALLING DIE BLECHTROMMEL KOREA EINMAL HANS MIT SCHARFER SOSSE DIE BIENE MAJA - DER KINOFILM FELIX - EINE HASE AUF WELTREISE CAPITAL C FELIX 2 - DER HASE UND DIE VERFFLIXTE ZEITMASCHINE ER IST WIEDER DA GESPENSTERJÄGER SPEED RACER GROUPIES BLEIBEN NICHT ZUM FRÜHSTÜCK HERR DER DIEBE MEXICO HOUSTON THE INTERNATIONAL IN THE NAME OF THE KING: TWO WORLDS DAS PARFUM - DIE GESCHICHTE EINES MÖRDERS JERRY COTTON TARZAN KRABAT KEINOHRHASEN NETHERLANDS KOKOWÄÄH A DANGEROUS METHOD KOKOWÄÄH 2 ELSER - ER HÄTTE DIE WELT VERÄNDERT KONSPIRANTINNEN DAS LEBEN DER ANDEREN LIGHTNING: FIRE FROM THE SKY LORE LISSI UND DER WILDE KAISER HANNAH ARENDT LOST CITY RAIDERS
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THE LOST SAMARITAN GROUPIES BLEIBEN NICHT ZUM FRÜHSTÜCK THE NAME OF THE ROSE HELL NIGHT TRAIN TO LISBON HERZ AUS GLAS OMAMAMIA HULE’S PREDIGT OOOPS! DIE ARCHE IST WEG IRON DOORS PERFECT HIDEOUT LETZTE WÖRTE RITTER ROST - EISENHART UND VOLL VERBEULT LOST PLACE SAME SAME BUT DIFFERENT DER MEDICUS DER SANDMÄNNCHEN - ABENTEUER IN TRAUMLAND NICHT MEIN TAG VIER MINUTEN ONE WAY DIE WELLE PALERMO SHOOTING WIR SIND DIE NACHT PANDORUM RUBINROT RUSSIA RUNNING SCARED 12 METER OHNE KOPF SAPHIRBLAU AGUIRRE - DER ZORN GOTTES SCHLÄFT EIN LIED IN ALLE DINGEN ALLE ANDEREN SHANGHAI BABY AUCH ZWERGE HABEN KLEIN ANGEFANGEN STALINGRAD BANSHEE CHAPTER STUNG BEHINDERTE ZUKUNFT TANZTRÄUME CHICO THE THIRTEENTH FLOOR DREI TRADE FACK JU GÖHTE VICTORIA FACK JU GÖHTE 2 WHO AM I - KEIN SYSTEM IST SICHER FATA MORGANA WICKIE UND DIE STARKEN MÄNNER DIE FLIEGENDE ÄRZTE VON OSTAFRIKA WOMB GLAUBE UND WÄHRUNG WOMEN WITHOUT MEN GESPENSTERJÄGER WOYZECK GIGANTEN
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SOUTH AFRICA GLÜCK CAPITAL C IM LABYRINTH DES SCHWEIGENS IRON DOORS SPAIN KEINOHRHASEN DIE BLECHTROMMEL DAS KLEINE GESPENST HECTOR AND THE SEARCH FOR HAPPINESS KOKOWÄÄH KREUZWEG LAUF JUNGE LAUF PARIS, TEXAS LILA, LILA SOMMERSTURM ROTE SONNE AFRIKA DAS WEISSE BAND RUSSISCHE ROULETTE STALINGRAD TAIWAN V8 - RACHE DES NITROS ALMANYA - WILLKOMMEN IN DEUTSCHLAND VERGISS NIE, DASS ICH DICH LIEBE ARENA OF THE STREET FIGHTER DIE VIERTE MACHT BERLIN ’36 VOM SUCHEN UND FINDEN DER LIEBE BOLLYWOOD LÄSST ALPEN GLÜHEN WAFFENSTILLSTAND CITIZENFOUR WER FRÜHER STIRBT IST LÄNGER TOT DEVOT WHO AM I - KEIN SYSTEM IST SICHER DU HAST ES VERSPROCHEN DAS WILDE LEBEN FEUERHERZ WIR WOLLTEN AUFS MEER FRIEDLICHE ZEITEN FUNNYMOVIE GEHEIMCODE WOLFSJAGD TURKEY GOODBYE BAFANA DER ARCHITEKT GNADE DR. KETEL DAS GRÜNE WUNDER - UNSER WALD FAUST (1926) HAFEN DER DÜFTEN HELL HEUTE BIN ICH BLOND
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UK AGUIRRE, DER ZORN GOTTES COBRA VERDE DEEP END FATA MORGANA FEAR DIE FETTEN JAHRE SIND VORBEI FITZCARRALDO FLIGHT TO BERLIN DIE GROSSE ECSTASE DES BILDSCHNITZERS STEINER KREUZWEG LAND DES SCHWEIGENS UND DER DUNKELHEIT NOSFERATU: PHANTOM DER NACHT DAS PARFUM - DIE GESCHICHTE EINES MÖRDERS PHOENIX STROSZEK VON MÄDCHEN UND PFERDEN DAS WEISSE BAND WOMEN WITHOUT MEN WOYZECK DAS ZIMMERMÄDCHEN LYNN
US CLOUDS OF SILS MARIA THE GREEN PRINCE HECTOR AND THE SEARCH FOR HAPPINESS LOVE, ROSIE STUNG
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SECTION IV: GERMAN FILMS AVAILABLE ON VOD IN TWO OR MORE TERRITORIES
This list is not comprehensive but includes all 100% German or German majority films available on one or more VOD platforms in September 2016. As in Section III, the four Scandinavian countries (Denmark, Finland, Norway and Sweden) are treated as one territory, since viewers in all of them have access to the same platforms.
Six DIE BIENE MAJA - DER KINOFILM CAPITAL C DIE BLECHTROMMEL CITIZENFOUR Five CLOUD ATLAS ER IST WIEDER DA CLOUDS OF SILS MARIA DREI Three ELSER - ER HÄTTE DIE WELT VERÄNDERT DER 7BTE ZWERG FACK JU GÖHTE 2 FACK JU GÖHTE FREIER FALL IM LABYRINTH DES SCHWEIGENS GESPENSTERJÄGER KREUZWEG THE GREEN PRINCE DAS LEBEN DER ANDEREN GROUPIES BLEIBEN NICHT ZUM FRÜHSTÜCK NACKT UNTER WÖLFEN HANNAH ARENDT NIGHT TRAIN TO LISBON HECTOR AND THE SEARCH FOR HAPPINESS DAS PARFUM - DIE GESCHICHTE EINES MÖRDERS HELL DER ROTE BARON THE INTERNATIONAL, DAS WEISSE BAND IRON DOORS KEINOHRHASEN Two DAS KLEINE GESPENST AGUIRRE - DER ZORN GOTTES KOKOWÄÄH AUF DER ANDEREN SEITE KONFERENZ DER TIERE BELTRACCHI - DIE KUNST DER FALSCHUNG
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DAS LEBEN DER ANDEREN STUNG DER MEDICUS DER UNTERGANG MR. MORGAN’S LAST LOVE VICTORIA NICHT MEIN TAG VORSTADTKROKODILE OOOPS! DIE ARCHE IST WEG DIE WELLE SOMMERSTURM WHO AM I - KEIN SYSTEM IST SICHER SPEED RACER WICKIE UND DIE STARKEN MÄNNER STALINGRAD ZWOLF METER OHNE KOPF
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SECTION V: TITLES AVAILABLE ON iQIYi
The chart below is made up of all films (but not TV series) labelled as ‘Europe’ on the iQIYi website – a label which effectively means non- Hollywood and non-Asian. The clear market leader, iQIYi has 20 million subscribers and has included Netflix Originals on its platform since Netflix withdrew from the Chinese market. The German titles are listed in Section II.
‘Other Europe’ consists of Austria; Belgium; Bulgaria; Czech Republic; Denmark; Finland; Greece; Greenland; Hungary; Ireland; iQIYi: Titles by country of origin Malta; Netherlands; Norway; Poland; Romania; Serbia; Slovakia; Sweden; and Switzerland. France UK ‘Other’ comprises Argentina; Australia; Chile; Congo (DR); India; Iran; Israel; Jamaica; Mexico; New Zealand; Peru; and Turkey. Germany Italy Spain Russia Canada Other Europe Other
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