_14248.png)
The French audiovisual industry has shown remarkable resilience despite the turbulence of recent years. How do you see Unifrance’s presence evolving in the coming months, particularly across upcoming festivals?
We will, first and foremost, continue to support and accompany our films and television programs internationally. As you mentioned, last year was a very strong one for French cinema, particularly in terms of box office results, and we hope this momentum will continue. There are many upcoming releases scheduled around the world, so naturally our focus remains on following and promoting these titles closely.
At the same time, we also organize our own festivals. In March, we will host two major events, one in New York and one in Tokyo. Then in April, we will come to Rome with a selection of 15 French films, accompanied by artists. This is something we deeply value: bringing French creators to different countries, allowing them to meet audiences directly, engage in dialogue, and present their work in person.
This direct connection between artists and the public is extremely important to us. Looking ahead to 2026, we sincerely hope to see as many strong films as we had last year.
Turning to television, do you believe that animation, comedy, and drama will continue to drive international trends this year?
In television, we have clearly observed over the past few years a growing international interest in French TV series. In particular, lighter crime series—those positioned somewhere between comedy and crime—have achieved significant success. These hybrid formats resonate strongly with international audiences.
We have seen this success in various territories, including Australia and Italy, where certain French series have performed particularly well. This confirms that French television content is reaching an increasingly broad audience worldwide.
When it comes to animation, the situation is more complex. Cinema animation performed exceptionally well last year, with major box office successes and international awards. However, in the TV animation sector, we are facing some turbulence. While animated series have traditionally sold very well internationally, the market is becoming more challenging. Some platforms are commissioning fewer animated series, as they already have extensive catalogs or prefer to produce content internally. This represents a noticeable shift.
As for documentaries, France remains a very strong production country. We produce documentaries across all genres—wildlife, nature, political, cultural—and there is a high level of expertise in both production and international sales. That said, the market is currently under pressure. Public broadcasters, in particular, are facing budget cuts and are purchasing less content than before.
In response, we work closely with producers and broadcasters to support international circulation, helping projects travel and find new opportunities abroad. France also benefits from strong synergies between series, documentaries, and territory promotion.
Is the light crime located in beautiful locations in France a good driver?
From a production standpoint, France offers extraordinary diversity in shooting locations. Each region has its own identity and cinematic value. The northern coastal areas, for example, provide a very strong harbor atmosphere, while the South of France offers light, brightness, and Mediterranean landscapes. Paris remains iconic, but cities like Marseille are increasingly attractive for series production as well.
We are a very rich country in terms of locations, and regional film commissions play a crucial role by offering financial incentives and strong logistical support. In some cases, regions are so actively involved that their input can even influence the creative development of a series. This level of collaboration is a real asset for French audiovisual production.
