French films in Russia registered the sharpest decline in attendance figures of all Eastern and Central European countries: admissions plummeted by 69% compared to 2008, after two consecutive years sitting at between 7 and 8 million spectators.
The Russian theatrical market
ロシア posted a 15% rise in movie attendance in 2009, even if revenues from ticket sales in euros decreased significantly. This decline can be attributed to the euro/rouble exchange rate, since box office revenues in roubles did not register a decline at all, but actually rose by 18.6%.
The number of theaters in operation in Russia continued to rise, even if the pace of development slowed, with nonetheless more than 150 new theaters constructed duirng the year. By the end of 2009, 353 theaters equipped with digital technology were in operation (compared to 3 in 2006, 31 in 2007, and 91 in 2008). Between mid-November and mid-December, 90 new sites were digitized, just in time for the release of Avatar!
American films and locally produced films shared the Top 10 at the box office in 2009, although the Top 10 spots were by no means evenly divided between them (7 American and 3 Russian productions). By comparison, in 2008, three Russian films also featured in the Top 10, but one of those films took first place. While we do not have precise figures on American films' share of the market, it is easy to imagine that the rise in admissions in 2009 benefited primarily the revenues for American films, since Russian films' market share fell back from 25.5% to 22.7%. 87 homegrown films were released, thus maintaining Russia's position as a powerful player in the European movie market, despite the economic recession. The distribution sector continued its radical transformation previously underway.
French cinema
French films registered the sharpest decline in attendance figures of all Central and Eastern European countries, with admissions slipping back by 69% compared to 2008, following two years in which spectator numbers were maintained at between 7 and 8 million. The absence of strong commercial titles and the relative failure of films presented as potential commercial successes weighed heavily on the figures this year.
While Central Partnership, French cinema's traditional partner in Russia, increases its share of the market each year, they have nevertheless acquired fewer and fewer French titles since the start of their collaboration with Paramount. Overall, the minimum guarantees offered by Russian buyers have, over the past year, been lower than the sums previously proposed to French sales agents. With forty new French films released on the screens in 2009, French cinema continues to be showcased in all its diversity in Russia. Around twenty buyers acquire French titles in this market, all of whom are very different from each other and appeal to different audiences.
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