European films are currently experiencing a remarkable year in the Oscar race. Titles like Jacques Audiard's transgender crime musical Emilia Pérez, Edward Berger's papal thriller Conclave, Coralie Fargeat's body horror satire The Substance, Steve McQueen's WW2 drama Blitz, Tim Fehlbaum's historic thriller September 5, and Pablo Almodovar's end-of-life drama The Room Next Door are among the award frontrunners. However, when it comes to commercial success, the story is quite different.

Unraveling the European Film Market's Dilemma

Oscar Contenders: A Glimpse into European Cinema's Brilliance

1: European cinema is making a significant impact in the prestigious Oscar race this season. These films showcase the diverse talents and creative visions of European filmmakers. Jacques Audiard's transgender crime musical Emilia Pérez, for instance, delves deep into complex themes and presents a unique narrative. Edward Berger's papal thriller Conclave keeps audiences on the edge of their seats with its intense plot. Each of these films stands out with its distinct style and storytelling. 2: The presence of these European films in the Oscar race highlights the growing recognition and quality of European cinema on the global stage. It demonstrates that European filmmakers are capable of creating works that resonate with audiences worldwide and compete on an equal footing with Hollywood productions.

Commercial Struggles: A Disheartening Picture

1: The European Audiovisual Observatory's annual report reveals a rather bleak picture for European films in terms of commercial performance. European films accounted for just 6 percent of worldwide ticket sales in 2023, while U.S. productions claimed 56 percent and Chinese films took 26 percent. Japan, with the success of anime, is close behind Europe with 5 percent. This shows the significant gap between European cinema and its global competitors. 2: The total theatrical admissions for European films in 2023 were 239 million, an increase of 2.7 percent from 2022 but still 35 percent below the pre-pandemic average from 2014 to 2019. The decline in admissions in important export markets like the United States and China is particularly worrying. In 2015, there were over 33 million U.S. admissions for European films, but last year it dropped to 4.8 million. In China, the peak was in 2017 with nearly 35 million admissions, but last year it was only 1.3 million.

The Lack of Blockbusters: A Growing Concern

1: The absence of Euro blockbusters is a major issue. The EAO defines blockbusters as films that sell more than 1 million tickets, and the number of such films has decreased by 43 percent compared to pre-pandemic years. This indicates a lack of commercial success on a large scale for European cinema. 2: Despite the decline in blockbusters, the number of European movies being made is actually increasing. In 2023, there were 3,349 European films in circulation worldwide, a 7.8 percent year-on-year jump. This shows that European filmmakers are still passionate about their craft and continue to produce a large volume of films.

Cross-Border Cooperation: The Future of European Cinema

1: Matthijs Wouter Knol, CEO of the European Film Academy, believes that the European theatrical market is at a crossroads. The fragmented structure of European movies being released at different times in different countries and by different distributors needs to change in the digital age. 2: The success of coordinated pan-European releases like Ruben Östlund's The Triangle of Sadness with 3 million admissions worldwide and Justine Triet's Anatomy of a Fall with 2.4 million admissions proves that cross-border cooperation is the way forward. By working together, European filmmakers can reach a wider audience and achieve greater commercial success. 3: European film has a lot to offer in terms of original stories, talented filmmakers, and diverse topics. But to be seen by audiences globally, it is essential to break away from traditional marketing and release strategies. Cross-border cooperation allows for a more unified approach and better exposure for European cinema.