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The current TV landscape is overrun with adaptations of recognizable and iconic films. There are almost too many to list, and even more to come. Dead Ringers falls into the camp of remakes/reboots that offer something different through fundamental casting changes. Trading in Jeremy Irons for Rachel Weisz, this version of David Cronenberg's original film is not the body/psychosexual horror about two men abusing their power over women and struggling with their symbiotic living. Prime Video's version of Dead Ringers retains much of the same narrative but is a radical yet nuanced story about two fiercely ambitious women in the healthcare field searching for the thing that completes them as individuals while existing as a duo. The series also tackles the callous and unfeeling nature of maternal healthcare — in a time when female bodies are objects and pregnancy and babies are currency — through the eyes of a...

On average French films allocate under 3% of their total budget on VFX, according to a report on employment in the French VFX sector presented at Pids Enghien in Paris by the French film and TV agency Cnc.

The report, produced with market research firm Audiens, found that for films budgeted at over €15 million ($17 million), the VFX spend rises to an average 11.8% of budget.

The data suggests that the number of French films using VFX has increased over the past decade. In 2020, 108 of 131 French feature films had recourse to VFX expenses in their overall budget. Total VFX expenditure for all French films in 2020 was estimated to be $18 million.

The Cnc has not yet disclosed data on the VFX spend of top French titles released in 2021, but top titles included “Eiffel,” which presented a case study at Pids Enghien.

Three titles contributed 39% of total VFX spend on French films in 2020 – Michel Hazanavicius’ “The Lost Prince,...

After an underwhelming start to the year, France has redeemed its status as Europe’s largest nation of cinemagoers, with the national box office bolstered by a tide of local movies that have sustained admissions despite the near absence of big Hollywood movies.

So far, 2020 has been a banner year for French fare, and local distributors — who were initially reluctant to release movies when theaters reopened in June after a three-month shutdown — have taken note. Upon news of Universal’s postponement of James Bond film “No Time to Die” to next spring, Gaumont immediately scheduled in the freshly vacant Nov. 11 Bond slot “Aline” (pictured), Valerie Lemercier’s anticipated movie about Celine Dion. Gaumont will give “Aline” a wide release, treating it as a French blockbuster.

Among the French and European sleeper hits that have been driving the box office are family movies like “Les blagues de Toto,” “Bigfoot Superstar,” French...

The short answer is strong local films and major state subsidies.

Mourir Peut Attendre, which translates as ‘Dying Can Wait’ is the French title for the James Bond film No Time To Die, and unexpectedly apt.

As in the rest of the world, French exhibitors had high hopes for the new Bond title as the only major US production left on the release calendar for this autumn, as they battle to stay afloat in the face of historically low admissions and a lack of crowd-drawing blockbusters.

The move of the Bond film to April 2021 is a huge blow but unlike...

This was the original release weekend for ‘Wonder Woman 1984’ before its Covid-induced delay.

France, Wednesday, September 30

French comedy My Cousin by Jan Kounen was the biggest release of the week in France on just under 700 prints for Pathé. Vincent Lindon stars as the uptight chief of a family business empire on a mission to get his wayward cousin, who owns half its shares, to sign off on a mega-deal.

Cannes 2020 label feature animation Josep was the second widest launch on 200 prints for Sophie Dulac Distribution. This was followed by Israeli-French drama The End Of Love by Keren Ben Rafael...