Press release

Strasbourg, 21 March 2003

LUMIERE - March 2003

The European Audiovisual Observatory announces the update of its LUMIERE database on admissions to films released in Europe (http://lumiere.obs.coe.int).  The database, available on-line and free-of-charge, is the result of collaboration between the European Audiovisual Observatory and various specialised national sources as well as the MEDIA Programme of the European Union.  LUMIERE provides country-by-country analysis of admissions for almost 10,900 films released in Europe since 1996.

2002 data for 14 countries is now available, including data for the major European Union markets and the United States.

In 2002 European films were unable to repeat the exceptional performance achieved in 2001

On the basis of 2002 data available, it would appear that European films were unable to equal the excellent performance achieved in 2001, when the success of local films drove the share of American films on the European Union market down to around 65%.  Early analysis shows that in 2002 American films seem to have regained at least some of the ground lost in 2001, reaching a market share of around 71%, a level similar to that observed in 2000 (73%). 

The Top 20 Films by Admissions in the European Union - 2002

Provisional ranking based on data from 9 countries (Belgium, Denmark, Germany, France, Italy, the Netherlands, Spain, the United Kingdom and Sweden)

Source : European Audiovisual Observatory / LUMIERE database (http://lumiere.obs.coe.int)
After MFB (BE), Danmarks Statistics (DK), FFA (DE), ICAA (ES), Le film français (FR), Cinetel (IT), Screen Finance (GB), NFC (NL), SFI (SE).
(1) 21 603 203 admissions in 2001

The Franco-German co-production Astérix & Obélix : Mission Cléopâtre proved the most succesful local film, achieving 14.6 million admissions on the French market alone.  Two British-American co-productions, Die Another Day and About a Boy, also figure on the list, with the latest James Bond adventure Die Another Day in particular enjoying a successful run on most of the principal European Union markets.

Over the past 7 years, the market share obtained by American films on the European Union market has varied in bi-annual cycles, as can be observed in the graph below.

Market Share for US Films on the European Union Market (1996-2001)

In %

Source: European Audiovisual Observatory / LUMIERE database (http://lumiere.obs.coe.int)

Years of lower market share in Europe for Hollywood productions are generally accounted for by the scores obtained by a relatively limited number of European produced `blockbusters'.  Such successful films would therefore appear to reach the market in two year cycles.

On the American Market British-US Co-productions Predominate Among Successful European Films in 2002

In 2002 the market share achieved by European films on the American market returned to a level similar to that of 2000 (4.6% of the market in 2002, 4.7% in 2000) after an outstanding year in 2001 (5.7%). Of the 10 top European films in the United States, only three did not involve a US co-producer, and two out of the top three films were the work of Americans directors (Gosford Park and About a Boy). The most successful entirely European film was the German majority co-production Resident Evil.  Interestingly the English-language French-produced action film The Transporter made little impact on European box offices (0.7 million admissions Europe-wide) but was seen by more than 4 million Americans.

The Top 10 European Films by Admissions in the United States  - 2002

Source : European Audiovisual Observatory after Variety
(2)  3 025 408 admissions in the United States in 2001

The European Audiovisual Observatory will publish a more detailed press release on European film market trends in early May and, as every year, a new FOCUS guide will appear in collaboration with the Cannes Film Market. Volume 3 of the Observatory's Yearbook, with an in-depth analysis of European film and video markets, will appear in July 2003.