The results of French films abroad remain relatively flat at the end of of May, with 14 million admissions registered since the beginning of the year.
| Rank | Title | Admissions | Revenues | No. of Prints | No. of Countries | Total adms |
| 1 | On the Other Side of the Tracks | 246,446 | 1,093,926 | 576 | 5 | 756,266 |
| 2 | Renoir | 133,033 | 780,464 | 161 | 5 | 443,907 |
| 3 | In the House | 99,964 | 556,122 | 132 | 6 | 897,439 |
| 4 | It Boy | 64,861 | 235,175 | 126 | 2 | 82,835 |
| 5 | A Lady in Paris | 41,372 | 262,326 | 135 | 6 | 104,669 |
| 6 | Mood Indigo | 40,271 | 345,142 | 71 | 4 | 58,552 |
| 7 | Rust and Bone | 39,059 | 208,014 | 101 | 6 | 1,223,943 |
| 8 | The Brats | 38,326 | 331,530 | 54 | 3 | 58,199 |
| 9 | Haute Cuisine | 36,938 | 211,166 | 60 | 4 | 367,843 |
| 10 | The Gilded Cage | 36,927 | 358,890 | 24 | 2 | 40,195 |
| 11 | Populaire | 34,323 | 239,249 | 146 | 4 | 162,508 |
| 12 | The Lookout | 33,953 | 189,623 | 199 | 1 | 42,530 |
| 13 | Paulette | 33,074 | 165,416 | 52 | 3 | 88,817 |
| 14 | Cycling with Moliere | 31,010 | 197,588 | 18 | 1 | 62,457 |
| 15 | Something in the Air | 28,667 | 192,285 | 80 | 6 | 72,288 |
| 16 | Les Profs | 24,934 | 293,029 | 12 | 1 | 36,989 |
| 17 | Passion | 20,758 | 108,825 | 74 | 2 | 43,022 |
| 18 | Le Grand Soir | 19,867 | 128,516 | 50 | 2 | 41,008 |
| 19 | The Dream Team | 14,375 | 97,922 | 89 | 1 | 182,557 |
| 20 | Un prince (presque) charmant | 13,283 | 75,819 | 89 | 1 | 33,870 |
The results of French films abroad remain relatively flat at the end of May, with 14 million admissions registered in forty territories since the beginning of 2013. Amour has so far been the year's best performing French film, with 2.3 million admissions since January 1, 2013 (and 3.4 million admissions overall). By itself alone, the film represents 17% of the year's total audience numbers. In the United States and English-speaking Canada, the leading market in terms of admissions since the beginning of 2013, only 1.8 million admissions have been generated by French films, being the equivalent of one third of the admissions realized by The Artist in these territories. It's a bitter note for French cinema, which, in 2012, had been spared the decrease in audience numbers in the southern European markets and had managed to accompany the burgeoning markets of Asia and Latin America. In this context, French-language films represent 63% of the total volume of admissions of French films abroad, while majority French productions concentrate 70%.
On the Other Side of the Tracks, which continues to benefit from Omar Sy's fame resulting from The Intouchables, rose to third place on the Russian box office the weekend of its release on 447 prints. The film had attracted 230,000 spectators by the 3rd weekend, before disappearing from the local top 20 list. This is a remarkable score for a French comedy in this territory. It should be noted that the film outstripped the performances of Amélie (227,000 admissions – released in 2001), The Intouchables (214,000 admissions – released in 2012), and popular comedies starring Gérard Depardieu, such as Ruby & Quentin (224,000 admissions – released in 2003), and San Antonio (221 000 admissions – released in 2004). Elsewhere, the film's career rapidly waned, although notable performances were achieved in Germany (275,000 admissions in 9 weeks), Italy (151,000 admissions in 5 weeks), and Austria (25,000 admissions in 7 weeks). However in Spain (33,000 admissions in 5 weeks), Portugal (1,200 admissions in 1 week), and Turkey (8,000 admissions in 4 weeks), the film did not manage to find an audience. On the Other Side of the Tracks has thus far racked up a total of nearly 760,000 admissions at the international box office, and will soon release in territories such as Scandinavia and South Korea, where The Intouchables was a huge popular success.
Renoir continues its successful run in the United States and English-speaking Canada. After 9 weeks on screens, the film had registered $1.8 million in revenues by the end of May, being about 238,000 admissions and its best result to date in cinemas abroad. It's a very fine performance for Gilles Bourdos' film, which should easily reach $2 million during June, being a performance on par with such titles as The Chorus (Miramax – 255,000 admissions), and more recently, Rust and Bone (Sony Classics – 266,000 admissions). In North America, the film has drawn in almost 30,000 spectators in Quebec, a totally satisfactory score in the Quebec market that has been relatively dynamic in 2013 for French movies.
Still on German screens after 17 weeks, Renoir has currently been seen by 121,000 spectators, being the fourth best performance for a French film released in the territory in 2013, behind Rust and Bone (167,000 admissions), Fly Me to the Moon (206,000 admissions), and On the Other Side of the Tracks (275,000 admissions).
Renoir has accumulated 444,000 admissions abroad.
It Boy has not managed to find a perch in Italian cinemas. Despite a generous 125-print release, the film attracted only 50,000 spectators during its opening week. This weak average of 391 spectators per print resulted in a rapid reduction of prints, with only 14 still in circulation by the third week and a total of 65,000 admissions. Two years after the success in Italy of La Chance de ma vie, also starring Virginie Efira, which registered 213,000 admissions, It Boy has failed to mirror the score. Romantic comedies are not a genre often favored by the Italian public. During the past 5 years, only a few atypical titles have managed to register between 100,000 and 150,000 Italian admissions: Cherry on the Cake (137 000 admissions in 2012), Romantics Anonymous (126,000 admissions in 2011), and Heartbreaker (114,000 admissions in 2011).
After Spain (223,000 admissions) and the United Kingdom (143,000 admissions), Italy became the third territory where In the House has tallied more than 100,000 spectators, with 125,000 admissions in 6 weeks. In the United States, the local distributor Cohen Media substantially increased the number of prints from 3 during the opening week to 36 by the fifth week. Revenues have not however been sufficient to maintain this level, and prints dropped to 21 during the sixth week. Revenues: $373 000 dollars, being around 50,000 admissions. The North American public proved to be fans of several of François Ozon's films in the past, such as Swimming Pool ($10.1 million, being 1.7 million admissions in 2003), 8 Women ($3 million, being 408,000 admissions in 2002), and most recently, Potiche ($1.6 million, being 205,000 admissions in 2011).
In the House has accumulated almost 900,000 admissions abroad.
Despite rather modest results in French theaters, with 46,000 spectators, A Lady in Paris has fared better in international terriories, beginning with Estonia. In director Ilmag Raag's homeland, the film has in fact achieved the second greatest success of a French-language film ever recorded by uniFrance Films, with 37,000 admissions, just behind The Intouchables (39,000 admissions). Elsewhere, the films has attracted 26,000 spectators in Germany (6 weeks), 21,000 spectators in Italy (2 weeks), 7,000 spectators in New Zealand (9 weeks), 4,000 spectators in Austria (2 weeks), and 2,000 spectators in Norway (2 weeks) and in French-speaking Switzerland (4 weeks).
Paulette maintains its very fine results at the Portuguese box office. Reaching second position at the local box office during its opening week, the film was still in fifth position by its sixth week. With a total of 63,000 admissions, Paulette has thus far achieved the best performance for a French film in this territory in 2013. This result is even more significant because the Portuguese market is currently under severe strees, with a decrease in admissions of 12% in 2012, which has continued since the beginning of 2013. In French-speaking territories, we note that Paulette has tallied 14,000 admissions in Quebec, and 9,000 admissions in French-speaking Switzerland.
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