| Rank|| Title|| Admissions|| B. O. Revenues|| No. of Prints|| No. of Countries|| Total Admissions|
| 1|| The Gilded Cage|| 447,418|| 2,356,850|| 186|| 7|| 505,334 |
| 2|| Paulette|| 409,384|| 2,599,681|| 278|| 4|| 522,859 |
| 3|| Houba! On the Trail of the Marsupilami|| 226,386|| 810,345|| 1|| 2|| 1,221,034 |
| 4|| The Attack|| 172,618|| 984,786|| 69|| 4|| 219,748 |
| 5|| Mood Indigo|| 115,522|| 638,640|| 69|| 4|| 223,144 |
| 6|| Fly me to the moon|| 94,969|| 652,018|| 152|| 3|| 733,891 |
| 7|| Renoir|| 87,115|| 508,305|| 105|| 7|| 587,879 |
| 8|| 年下のカレ|| 85,692|| 407,834|| 260|| 2|| 263,885 |
| 9|| Plan de table|| 61,210|| 354,133|| 149|| 1|| 63,352 |
| 10|| 17歳|| 58,132|| 376,700|| 293|| 4|| 58,132 |
| 11|| The Players|| 47,719|| 174,186|| 33|| 1|| 842,130 |
| 12|| Serial Teachers|| 44,018|| 225,036|| 133|| 2|| 93,032 |
| 13|| Mobius|| 35,318|| 211,198|| 64|| 4|| 142,966 |
| 14|| Titeuf, le film|| 28,776|| 169,571|| 142|| 1|| 131,542 |
| 15|| The Past|| 25,013|| 208,735|| 48|| 3|| 69,864 |
| 16|| F.B.I.: Frog Butthead Investigators|| 24,938|| 49,876|| 36|| 1|| 30,573 |
| 17|| Bright Days Ahead|| 24,615|| 219,262|| 50|| 4|| 36,458 |
| 18|| The Big Bad Wolf|| 23,458|| 195,162|| 41|| 2|| 23,477 |
| 19|| オーギュスティーヌ|| 22,504|| 107,968|| 11|| 2|| 32,117 |
| 20|| Paris à tout prix|| 21,554|| 187,192|| 21|| 2|| 21,554 |
| || || || || || || |
Compared to the all-time record year of 2012, in which French films registered 65 million admissions during the same time period and in the same 40 markets, 2013 shows a distinct lack of hit French titles with strong commercial potential producing high attendance figures abroad. While French films have not held a strong attraction in our major markets so far this year, 中国 has for the first time become our leading market in 2013, with 4.1 million admissions registered by six films. Only five films have attracted more than 1 million spectators outside France since the start of 2013, three of which are French minority productions shot in a foreign language: Upside Down (2.5 million admissions in 2013 – 4.1 million in total), Love (2.3 million in 2013 – 3.5 million in total), Colombiana (1.6 million in 2013 – 9.6 million in total), Mariage à l’anglaise (1.2 million), and Sammy 2 (1.1 million in 2013 – 4.8 million in total).
In this current context, French-language productions generated 56% of all admissions to French films in international theaters, while French majority productions accounted for 68%.
Focus on a selection of French majority films that stood out in July and August, 2013
The Gilded Cage has registered exceptional results in theaters in ポルトガル since its release four weeks ago, and already boasts a total of 398,000 admissions in this market. Over the next few weeks, this film looks set to become the most successful French film ever monitored by Unifrance in Portugal, thereby eclipsing the fine results of the first three installments in the Asterix series, which until now have ranked as the top-scoring French trio in Portugal (including Asterix and Obelix versus Cesar, the highest performing French title, credited with 520,000 admissions in 1999). On top of this, The Gilded Cage's success has been achieved against a background of a currently declining market in Portugal, which suffered an overall fall of 12.1% in movie attendance in 2012. Just a few months after its surprise success in France, in which The Gilded Cage achieved 1.2 million admissions, its Portuguese distributor Nos Lusomundo Audiovisuais wisely timed its release during the summer period, a time when many Portuguese expatriates residing in France return to their homeland. The Gilded Cage has also made its mark in Quebec, where it pulled in 11,000 admissions at the end of its fourth week on the screens. This is a respectable score in this market, in which only one quarter of the 48 French titles released in 2013 have managed to top 10,000 admissions. Also freshly released in ドイツ, it has enjoyed a reasonable debut, registering 22,000 spectators in 4 days from 62 prints.
The Gilded Cage currently totals over 500,000 admissions in international theaters.
In Germany, Paulette has attracted 346,000 moviegoers after its sixth weekend. This is an excellent performance that enables the film to claim the title of top-performing French film in Germany in 2013, wrestling victory from On The Other Side of The Tracks, whose German run ended in May with 275,000 admissions. This is an excellent score in this market, where only around sixty French films have attracted more than 300,000 admissions since the beginning of the 2000s (including 34 French-language titles). In upcoming weeks, Paulette should come close to matching the performance of the surprise hit of 2012 in Germany, All Together (404,000 admissions). For the record, it is worth noting that Paulette's German distributor, Neue Visionen Filmverleih, had predicted an optimistic scenario of achieving 250,000 admissions.
Elsewhere in Europe, Paulette has garnered 67,000 admissions in ポルトガル, 55,000 in イタリア, and 28,000 in オーストリア, for a total of 523,000 admissions outside France.
Houba! On the Trail of the Marsupilami is credited with 226,000 admissions in 中国 after three weeks. This is a disappointing score given that it was offered a wide release on 3,800 screens at the time of its opening. This has caused some dissatisfaction for Domo Media, who are handling its release under the banner of China Film Studios and Huaxia. Domo Media estimated a minimum of 600,000 admissions, for which they invested considerable funds to promote its release. However, China Film Studios announced the release date just two weeks in advance, thus adversely affecting the efforts of the film's distributor, whose promotional material arrived after its release. So-called "family films," or films for children, rarely produce successful results in China. The high cost of a family movie outing for Chinese audiences remains a prohibitive factor. Chinese movie audiences nowadays are thus mostly composed of young adults aged between 18 and 35. In previous years, Arthur and the Invisibles (607,000 admissions in 2007) succeeded in putting in a strong performance, although other family-oriented titles, such as Astérix aux jeux olympiques (168,000 admissions in 2008) and Le Petit Nicolas (around 60,000 admissions in 2013) achieved far more modest results.
Since the start of its international career in April 2012, Houba! On the Trail of the Marsupilami has tallied a total of 1.2 million admissions in foreign theaters, including 348,000 in ロシア, 261,000 in ベルギー, and 148,000 in ポーランド.
The Attack continues its run in the United States and English-speaking Canada (Cohen Media Group). It has clocked up over $1.5 million after ten weeks, representing around 200,000 admissions. It registers the 3rd highest score by a French film in 2013 in these markets, behind Renoir ($2.2 million, for around 300,000 admissions), and the French minority production Love is All You Need (Sony – $1.6 million, for 215,000 admissions). This is the best performance of all the French films distributed by the relative newcomer on the scene, Cohen Media Group. Cohen Media were behind two successful French films in 2012: Farewell My Queen ($1.3 million, for just under 170,000 admissions) and The Other Son ($1.3 million, for 157,000 admissions).
The Attack has registered 220,000 admissions in international theaters.