Press Release
Strasbourg, 5 May 2003

EUROPEAN CINEMA ATTENDANCE STAGNATES AS LOCAL FILMS FAIL TO TRAVEL
Growth in cinema attendance in the European Union in 2002 slowed to just 1%, with Great Britain among the most dynamic markets

Overall market share for films produced in Europe reached an estimated 27% in 2002, a drop in relation to 2001 (31%) but still an improvement on the score achieved in 2000 (23%)

The overall volume of feature film production remained stable in 2002, as British, French and German producers turned increasingly to co-production

Table 1 - Admissions in the EU
Table 2 - Admissions in European non-EU countries
Table 3 - Market shares of films distributed in the EU
Table 4 - Admissions to films distributed in the EU 2002
Table 5 - Admissions to European films in distribution in the EU

Production volume holds stable in 2002...

On the basis of available data, the European Audiovisual Observatory estimates that 625 films were produced in the European Union in 2002, a result very similar to that posted in 2001 (628 films). Countries that showed an increase in production levels were Austria (an estimated 26 films as opposed to 12 in 2001), Spain (80 entirely national films as opposed to 67 in 2001) and Italy (96 national films as opposed to 68 in 2001). Production levels dipped slightly in France (from 172 films of French initiative in 2001 to 163 in 2002), the United Kingdom (64 national or majority co-produced films in 2001, 60 in 2002), whereas the decline was more pronounced in Portugal (14 films in 2001, 6 in 2002). British, French, and German producers showed renewed interest in co-productions, whereas in Italy and Spain the principal increase in volume came from entirely nationally financed films.

British films remain those with the highest budgets, reaching an average of GBP 5.99 million (EUR 9.98 million) in 2002, while French average production costs also rose to reach EUR 4.44 million (an increase of just 1%). The year 2001 had also seen a sharp drop in the number of US productions shooting in Great Britain, with only 3 films shot there in 2001 as opposed to 11 in the preceding year. Figures for 2002 show an improved situation, with 6 Hollywood productions availing of British production facilities.

...while growth in admissions slows

Total admissions in the European Union had grown by an exceptional 10% in 2001. Growth slowed in 2002, with a 0.5% increase bringing total admissions to an estimated 933 million. Results were stable or positive in the majority of countries with Finland showing the strongest growth (18.5%) chiefly due to recovery from the very disappointing result obtained in 2001. It was the United Kingdom market that registered the strongest performance, reaching a total of 176 million tickets sold (a 13% increase on 2001), thus becoming the second largest market in terms of admissions in the European Union after France. The most important declines were registered in Germany (-7.9%) and in Spain (-4%) and estimated figures for Belgium indicate an expected 3% drop.

Table 1: Admissions in the European Union (1997-2002)
In Millions- Figures in italics are estimated or provisional

Source: European Audiovisual Observatory

Among non-European Union countries Estonia, the Russian Federation, Slovenia and Switzerland all registered positive results, with Estonia (19.5%) and Slovenia (12.9%) in particular showing strong growth. Attendances fell back slightly in Norway (-3.5%) and in Poland (-1.1%) and more significantly in Romania (-7.2%), Latvia (-7%) and Lithuania (-19%). A sharp drop was also registered in Turkey, where estimations for 2002 indicate a fall of around 16% in cinema admissions, a decline that would appear to be principally due to the lack of strong local films released during the year.

Table 2: Admissions in European countries non-Members of the European Union (1997-2002)
In Millions - Figures in italics are estimated or provisional

Source: European Audiovisual Observatory

European films continue to perform well on their own markets, but results outside national markets are less encouraging

According to provisional estimates from the European Audiovisual Observatory, market share for European films in the European Union reached around 27% in 2002, a decline in relation to the exceptional 2001 figure (31%) but still a significant gain on the figures achieved in 2000 (23%). The market share of national films on their own market remained relatively stable, at 19.5% (a 3% drop in relation to 2001) but the performance of European films outside national markets was less encouraging, falling back by an estimated 27% in relation to last year's excellent results. Consequently American films recovered ground lost in the European Union in 2001, obtaining in 2002 a market share of 71% (65% in 2001)..

Table 3: Market shares of films distributed in the European Union (1996-2002)

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

Graph 1: Breakdown of admissions in the European Union according to the origin of films (2002)

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

Table 4: Admissions to films in distribution in the European Union in 2002

Provisional ranking on the basis of available data from 12 European Union countries (around 79 % of admissions analysed)

(1)  21 609 078 admissions in the European Union in 2001
(2)  01 201 828 admissions in the European Union in 2001
(3)  43 579 135 admissions in the European Union in 2001

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

Franco-German co-production, Astérix & Obélix: Mission Cléopâtre was the European film to obtain most admissions in 2002, and only two other European films (both British - US co-productions) appeared in the overall Top 20 list for the year. Astérix & Obélix circulated relatively successfully in Europe in 2002, yet just 26% of the total of 19.7 million admissions to the film were registered outside its home market. Though the final total for the film should be slightly higher, it is interesting to compare this result with the final result for its predecessor, Astérix & Obélix contre César. This film, first released in 1999, registered 55% of a total of 19.1 million admissions in markets outside of France. Bridget Jones' Diary, the most successful European film of 2001, sold 63% of its total of 26.5 million tickets outside of the British home market.

Table 5: Admissions to European films in distribution in the European Union (2002)

Provisional ranking on the basis of available data from 12 European Union countries (around 79% of admissions analysed)

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

EUROPEAN AUDIOVISUAL OBSERVATORY, Strasbourg, France

Established in Strasbourg in December 1992, the European Audiovisual Observatory is dedicated to gathering, processing and publishing information on the European audiovisual sector. A European public service organisation, it currently comprises 35 Member States and the European Community which is represented by the European Commission. It operates within the legal framework of the Council of Europe and works with various partners, relevant professional organisations and a network of correspondents. Its main activities are producing publications, databases and a comprehensive Internet site.

www.obs.coe.int