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World Film Market Trends / Tendances Du Marché Mondial Du Film

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World Film Market Trends / Tendances Du Marché Mondial Du Film FOCUS 2020 World Film Market Trends / Tendances du Marché mondial du film Observatoire européen de l’audiovisuel European Audiovisual Observatory Europäische Audiovisuelle Informationsstelle Focus MDF_2020_COUV-PUBLICATIONS_OK2.indd 10 20/05/2020 11:03 How is Europe supporting its film industry through the COVID-19 pandemic? Over 700 measures in 41 countries We’re tracking support measures in the audiovisual sector! Regular up-dates! DOWNLOAD YOUR FREE EXCEL TRACKER https://bit.ly/2XqWLXu Observatoire européen de l’audiovisuel European Audiovisual Observatory Europäische Audiovisuelle Informationsstelle Information products and services for the audiovisual sector www.obs.coe.int focus 2020 World Film Market Trends Tendances du marché mondial du film Editors Martin Kanzler ([email protected]) Patrizia Simone ([email protected]) Film Analysts, Department for Market Information, European Audiovisual Observatory Lay-out: Acom* Media (Paris) © 2020, Marché du Film The European Audiovisual Observatory, set up in Créé en 1992, l’Observatoire européen de l’audio- 1992, is a public-service body whose mission is to visuel est un organisme de service public qui a pour supply information services (concerning film, televi- mission de proposer des services d’information au sion, home video, on demand audiovisual services secteur audiovisuel en Europe (concernant le cinéma, as well as related public policies) to the audiovisual la télévision, la vidéo, les services audiovisuels à la industry in Europe. The Observatory has 41 member demande et les politiques publiques afférentes). Il countries, along with the European Union represent- compte actuellement 41 Etats membres, ainsi que ed by the European Commission. The Observatory is l’Union européenne qui est représentée par la Com- part of the Council of Europe and located in Stras- mission européenne. L’Observatoire fait partie du bourg, France. It carries out its mission with the help Conseil de l’Europe et a son siège à Strasbourg en of a network of partners, correspondents and profes- France. Pour accomplir sa mission, il s’appuie sur un réseau de partenaires, de correspondants et d’orga- sional organisations. The Observatory provides infor- nisations professionnelles. L’Observatoire propose des mation on markets, financing and legal aspects of informations relatives aux différents marchés audio- the audiovisual sector and edits the “FOCUS, World visuels, au financement et aux aspects juridiques du Film Market Trends”. secteur ; il édite aussi FOCUS, Tendances du marché ➥ http://www.obs.coe.int mondial du film. 2 Editorial FOCUS has existed as a publication for well over FOCUS existe en tant que publication depuis two decades now and I am very proud of our long plus de deux décennies déjà et je suis très fier de term relationship with the European Audiovisual notre si longue collaboration avec l’Observatoire Observatory. In these difficult and changing times européen de l’audiovisuel. En ces temps diffi- for the whole of the film industry, the Marché du ciles et nouveaux pour toute l’industrie ciné- Film is continuing to evolve, creating its first online matographique, le Marché du Film continue edition in June 2020, and FOCUS remains more d’évoluer en créant sa première édition en ligne than ever an essential reference guide for pro- en juin 2020, et FOCUS reste plus que jamais un fessional attendees. Not only does it help grasp guide de référence essentiel pour les profession- the changing practices of the film industry, but nels qui y participent. Non seulement il permet de comprendre les nouvelles pratiques de l’industrie it also provides specific information on produc- cinématographique, mais il fournit également tion and distribution around the world, as well des informations spécifiques sur la production et as current information on the impact caused by la distribution à travers le monde, ainsi que des Covid-19. Special thanks to Susanne Nikoltchev informations actuelles sur l’impact du Covid-19. and her team, with whom we have worked to Nous remercions tout particulièrement Susanne provide this invaluable insight into the world of Nikoltchev et son équipe, avec qui nous avons film market trends. travaillé pour fournir cet éclairage précieux sur Jérôme Paillard les tendances du marché du film. Executive Director Jérôme Paillard Marché du Film Directeur Délégué Marché du Film “It was the best of times, it was the worst of « C’était le meilleur des temps, c’était le pire times” … This year’s FOCUS must surely tell A Tale des temps » … Le FOCUS de cette année raconte of Two Cinemas. We look back at 2019 which, sans aucun doute Le Conte de deux cinémas. Mais globally speaking, was an extremely positive year revenons sur l’année 2019 qui, globalement, a été for the international cinema industry. Some coun- une année extrêmement positive pour l’industrie tries even broke previous attendance records in cinématographique internationale. Certains pays ont 2019. And this report documents the country- même battu leurs précédents records de fréquen- by-country successes of last year. Then came the tation en 2019. Ce rapport détaille les succès de pandemic with its catastrophic effect on global l’année dernière, pays par pays. Puis est survenue la pandémie et ses effets catastrophiques sur la film production and distribution. We’ve tried to production et la distribution des œuvres ciné- document the effects of COVID-19 where data was matographiques mondiales. Nous avons essayé available but at the time of writing, we cannot yet de documenter les effets du COVID-19 lorsque paint a complete picture of this “worst of times”. des données étaient disponibles, mais à l’heure A fuller analysis will be made by the European où nous écrivons ces lignes, nous ne pouvons pas Audiovisual Observatory in the coming months. encore dresser un tableau exhaustif du « pire des In the meantime an entire industry will rebuild temps ». Une analyse plus complète sera faite par itself within the rules of the ‘new normal’. And l’Observatoire européen de l’audiovisuel dans we’ll be there for you to report on its renaissance. les prochains mois. Dans l’intervalle, toute une Susanne Nikoltchev industrie va se reconstruire dans les règles de la Executive Director « nouvelle normalité ». Et nous serons là pour European Audiovisual Observatory vous rendre compte de sa renaissance. Susanne Nikoltchev Directrice exécutive Observatoire européen de l’audiovisuel 3 4 focus 2020 Contents Introduction 7 World 11 Europe European Union 14 France 22 Germany 24 Italy 26 Spain 28 United Kingdom 30 Russian Federation 32 Poland 34 Turkey 35 Other Western Europe 36 Nordic Countries 38 Baltics and Central Europe 40 South-Eastern Europe 41 Americas North America 42 Latin America 44 Australia and New Zealand 48 Asia China 50 Japan 52 India 54 South Korea 56 Other Asia 58 Africa 60 Middle East 62 Sources 64 5 Introduction Covid-19: cascading effects pushing independent film production and distribution towards a prolonged crisis? This edition of FOCUS comes in troubled times for the film industry. As of June 2020, cinemas have just initiated a reopening process or are preparing for it under heavy constraints, one of the many reasons why assessing the impact of the COVID-19 crisis on the film industry is premature. Still, some early hypotheses can be explored. The Observatory believes that, as far as audiovisual content is concerned, European theatrical film production and distribution are likely to be the sectors proportionally hit hardest and most profoundly by the crisis. The immediate impact is direct and short-term because all theatrical film distribution as well as film and TV production having come to a sudden stop threatening the existence of thousands of businesses as well as causing mass unemployment among film professionals. The more indirect and mid-term consequences can be seen in the cascading effects of the current loss of box office revenues due to cinema closures putting further pressure on film financing as well as in the accelerated shift towards TV content instead of film. Revenue impacts of the crisis it may take a long time for box office takings to on the film industry climb back to levels achieved in 2019. While it is too early to assess the financial impact Advertising expenditure is correlated to the of the COVID-19 crisis along the value chain of general economic climate. The 2008 crisis has shown that a recession of the gross domestic the European film industries, one can venture product causes a decrease in advertising expen- some educated guesses. Cinema admissions, on diture which is proportionally double in size. The the one hand, and TV advertising on the other are boost of TV audiences is therefore unlikely to likely to be the segments most affected, at least produce more TV advertising revenues – and, in the short term. Pay-services are probably more anyway, early figures seem to indicate that TV audi- resilient to the crisis but may see revenues shift ences rapidly come back to their pre COVID-19 from Pay-TV to Subscription Video-On-Demand levels once the lockdown is over. It remains to (SVOD) providers which stand to benefit from the be seen whether the COVID-19 crisis will trans- lockdown as well as social distancing measures. late into a loss of advertising market share for Evidently, the theatrical sector - exhibitors and broadcasters to the benefit of Internet with the distributors - has been hit hardest and in the most corresponding revenues consequently being lost abrupt manner due to cinema closures in practically for the audiovisual sector, as the bulk of adver- all European markets from mid-March onwards. tising goes to Google and Facebook which – in According to figures collected for selected EU contrast to broadcasters – are not (at least not markets by the International Union of Cinemas yet) investing in films or audiovisual content, in (UNIC) box office figures from January to May particular high-end series.
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