by Split Screen Data Ltd. for German Films March 2012

Market StudyUSA

2 GerMaN FILMS – Market Study USA

GENERAL C INEMA STAT IST ICS

2008 2009 2010

Cinemas 5,928 5,786 5,942Screens 38,834 39,233 39,547Digital screens 4,088 4,149 7,9373D-capable screens 1,427 3,269 7,837Admissions (millions) 1,341* 1,414* 1,339*Per capita attendance 4.2* 4.3* 4.1*Average ticket price $7.18 $7.50 $7.89

RELEASES & BOX OFF ICE SHARE (uS$ millions)

Total releases 569* 558* 638*Total box office (US$ millions) 9,600* 10,600* 10,600*German 100% or majority co-prods 5 11 9German 100% or majority co-prods box office 779,237 39,089,174 8,305,479German 100% or majority co-prods as %

of total box office 0.008 0.37 0.08German minority co-productions 16 22 14German minority co-prods box office 256,729,418 254,026,413 40,267,920German minority co-prods as % of total box office 0.27 0.24 0.38

*MPaa figures for the uS and Canada combined

USA

Language english (North american english), Spanish, Hawaiian

Location the uS is a country in the Western Hemi-sphere. It consists of 48 contiguous states in North america; alaska, a peninsula which forms the north-western-most part of North america; and Hawaii, an archipelago in the Pacific. the term ‘united States’, when used in the geographical sense, means the conti-nental united States, plus alaska, Hawaii, Puerto rico, Guam, and the uS Virgin Islands.the country shares land borders with Canada and Mexico and maritime borders with russia,Cuba and the Bahamas.

Population 312,277,357 (2011)Capital Washington dC (pop 601,723)Major cities New york (pop 8,175,133), Los angeles

(pop 3,792,621), Chicago (pop 2,695,598)Land surface 9,629,090 square kilometresTime zone uCt (Coordinated universal time) (GMt -5

hours [east Coast] to -8 hours [Pacific])Internet domain .usIDD +1Currency uS$Exchange rate uS$1 = €0.74GDP €10.95 trillionUnemployment 9.1%

TITLE

2008 TOP 10

tHe dark kNIGHt (uS/uk) IrON MaN (uS) INdIaNa JONeS aNd tHe kINGdOM OF tHe CryStaL SkuLL (uS)HaNCOCk (uS) WaLL-e (uS) tWILIGHt (uS) MadaGaSCar: eSCaPe 2 aFrICa (uS) QuaNtuM OF SOLaCe (uS) kuNG Fu PaNda (uS) dr. SeuSS’ HOrtON HearS a WHO! (uS)

2008 GERMAN F I LMS (100% or majority co-productions in red)

VaLkyrIe (uS/Ger) SPeed raCer (uS/Ger) JOHN raMBO (uS/Ger)tHe reader (uk/Ger/uS)deFINIteLy, MayBe (uS/Ger/uk)MONGOL (kaz/Ger/ruS/MON)dIe FÄLSCHer (aut/Ger) IL y a LONGteMPS Que Je t’aIMe (Fr/Ger)WaLtz WItH BaSHIr (ISr/Fr/Ger) traNSSIBerIaN (SP/Ger/LItH/uk) tHe CHILdreN OF HuaNG SHI (auS/CHI/Ger) auF der aNdereN SeIte (Ger) La FILLe COuPÉe eN deuX (Fr/Ger) BaB'azIz (IrN/Ger/uk/tuN)BIS SPÄter, MaX! – dIe LIeBe kOMMt, dIe LIeBe GeHt (Ger/aut)IrINa PaLM (LuX/BeL/Fr/uk/Ger)yeLLa (Ger) FrauLeIN (SWz/Ger) VIVere (Ger) MISS CONCePtION (uk/uS/Ger) daS WILde LeBeN (Ger)

DISTRIBUTOR

Warner Bros. Pictures Paramount Pictures Paramount Pictures Sony Pictures releasing/Columbia Pictures Walt disney Pictures Summit entertainment Paramount Pictures/dreamWorks Sony Pictures releasing/Columbia Pictures Paramount Pictures/dreamWorks 20th Century Fox International

MGM Studios/united artists Warner Bros. Pictures Lionsgate the Weinstein Company universal Pictures Picturehouse Sony Pictures Classics Sony Pictures Classics Sony Pictures Classics First Look Films Sony Pictures Classics Strand releasingIFC Films typecast releasing kino Strand releasingCinema GuildFilm Movement regent releasing First Look FilmsMPI Media Group

RELEASE DATE

18.07.0802.05.0822.05.0802.07.08 27.06.08 21.11.08 07.11.08 14.11.08 06.06.08 14.03.08

25.12.08 09.05.0825.01.08 10.12.0814.02.0806.06.08 22.02.08 24.10.08 25.12.08 18.07.0823.05.0821.05.0815.08.08 08.02.08 13.06.08 21.03.08 30.05.08 19.09.08 29.02.08 06.06.08 11.07.08

BOX OFFICEUS$

533,345,395318,412,855317,101,243227,946,076223,808,838 192,769,480180,010,757168,368,656163,607,019 154,529,598

83,077,15843,945,37642,754,79434,194,88832,241,744 5,705,8165,488,5703,169,3052,283,849 2,206,4051,031,872

742,349409,65889,67278,07944,38330,647 5,7153,6252,134 2,616

GerMaN FILMS – Market Study USA 3

RELEASE DETAILS

2009 TOP 10

aVatar (uS) traNSFOrMerS: reVeNGe OF tHe FaLLeN (uS) Harry POtter aNd tHe HaLF-BLOOd PrINCe (uS/uk) tHe tWILIGHt SaGa: NeW MOON (uS) uP (uS) tHe HaNGOVer (uS) Star trek (uS) tHe BLINd SIde (uS) aLVIN aNd tHe CHIPMuNkS: tHe SQueakQueL (uS)SHerLOCk HOLMeS (uS)

2009 GERMAN F I LMS (100% or majority co-productions in red)

INGLOurIOuS BaSterdS (uS/Ger) WHere tHe WILd tHINGS are (uS/auS/Ger) eartH (uk/uS/Ger) tHe INterNatIONaL (Ger/uS) INkHeart (uS/Ger/uk) PaNdOruM (Ger/uS) CHÉrI (uk/Ger/uS) daS WeISSe BaNd (Ger/aut/It/SP) FauBOurG 36 (Fr/Ger/Cz) MarIa LarSSONS eVIGa ÖGeNBLICk (deN/FIN/NOr/SWe/Ger) etz LIMON (ISr/Fr/Ger) der Baader MeINHOF COMPLeX (Ger/Fr) aNtICHrISt (deN/Fr/Ger/It/SWe) tOkIO! (JaP/Fr/Ger) Le SILeNCe de LOrNa (BeL/Fr/Ger/It) O’HOrteN (NOr/Fr/Ger) aNONyMa – eINe Frau IN BerLIN (Ger) 35 rHuM (Fr/Ger/BeL) OutLaNder (uS/Ger) tuLPaN (kaz/Ger/POL/rOM/ruS/SWz) FLaMMeN & CItrONeN (deN/Cz/Ger) kIrSCHBLÜteN – HaNaMI (Ger) WOLke 9 (Ger)JerICHOW (Ger) La BOHeMe (aut/Ger) aBSurdIStaN (Ger)

20th Century Fox International Paramount Pictures/dreamWorks Warner Bros. Pictures Summit entertainment Walt disney Pictures Warner Bros. Pictures Paramount Pictures Warner Bros. Pictures 20th Century Fox International Warner Bros. Pictures

the Weinstein Company Warner Bros. Pictures Buena Vista Motion Pictures Group Sony Pictures releasing Warner Bros. Pictures/New Line CinemaOverture FilmsMiramax Sony Pictures ClassicsSony Pictures Classics IFC Films IFC Films Vitagraph IFC Films Liberation entertainment Sony Pictures Classics Sony Pictures Classics Strand releasing Cinema Guild third rail releasing zeitgeist Films IFC Films Strand releasingMusic Box FilmsCinema Guild emerging Pictures First run Features

18.12.09 24.06.09 15.07.09 20.11.09 29.05.09 05.06.09 08.05.09 20.11.09 23.12.09 25.12.09

21.08.09 16.10.09 22.04.09 13.02.09 23.01.09 25.09.09 26.06.09 30.12.09 03.04.09 06.03.09 17.04.09 21.08.09 23.10.09 06.03.09 31.07.09 22.05.09 17.07.09 16.09.09 23.01.09 01.04.09 31.07.09 16.01.09 14.08.09 15.05.09 23.09.09 06.02.09

760,507,625 402,111,347301,959,187142,839,009293,004,752277,322,696257,730,024255,959,000219,615,000209,028,670

120,540,71977,233,46732,011,57625,450,52717,303,42410,330,853

2,715,6572,222,862

851,540610,825569,672476,270404,122351,059338,795302,232294,014177,511166,003 158,741148,089104,433

91,67560,37954,464 39,683

4 GerMaN FILMS – Market Study USA

teza (etH/Ger/Fr/uS) SurVeILLaNCe (uS/Ger)du LeVaNde (SWe/Fr/deN/Ger)SturM (Ger/deN/NL) MaMMOtH (SWe/Ger/deN) MeIN FÜHrer – dIe WIrkLICH WaHrSte WaHrHeIt ÜBer

adOLF HItLer (Ger) dOG eat dOG (uk/Ger)

2010 TOP 10

tOy StOry 3 (uS) aLICe IN WONderLaNd (uS) IrON MaN 2 (uS) tHe tWILIGHt SaGa: eCLIPSe (uS) Harry POtter aNd tHe deatHLy HaLLOWS: Part ONe (uS/uk) INCePtION (uS/uk) deSPICaBLe Me (uS) SHrek FOreVer aFter (uS) HOW tO traIN yOur draGON (uS) taNGLed (uS)

2010 GERMAN F I LMS (100% or majority co-productions in red)

tHe GHOSt (Fr/Ger/uk) MÄN SOM Hatar kVINNOr (SWe/Ger/NOr) FLICkaN SOM Lekte Med eLdeN (SWe/Fr/Ger) tHe LaSt StatION (Ger/ruS/uk) LuFtSLOttet SOM SPrÄNGdeS (SWe/deN/Ger) NOrdWaNd (Ger/aut/SWz) aJaMI (ISr/Ger/uk) VISION – auS deM LeBeN der HILdeGard VON BINGeN (Ger/Fr) LeBaNON (ISr/Fr/Ger) eNter tHe VOId (Fr/Ger/It) SOuL kItCHeN (Ger/Fr/It) CarLOS (Fr/Ger) Le Pere de MeS eNFaNtS (Fr/Ger) CONtraCOrrIeNte (Per/COL/Fr/Ger) aLLe aNdereN (Ger) JOHN raBe (Ger/CHI/Fr/It/SP) HarLaN - IM SCHatteN VON Jud SÜSS (Ger)

Mypheduh Films Magnolia PicturesPalisades tartanFilm Movement IFC Films First run Features

IFC Films

Walt disney Pictures Walt disney Pictures Paramount Pictures Summit entertainment Warner Bros. Pictures Warner Bros. Pictures universal Pictures Paramount Pictures/dreamWorks Paramount Pictures/dreamWorks Walt disney Pictures

Summit entertainment Music Box Films Music Box Films Sony Pictures Classics Music Box Films Music Box Filmskino zeitgeist Films Sony Pictures ClassicsIFC FilmsIFC Films IFC Films IFC Films the Film CollaborativeCinema GuildStrand releasing zeitgeist Films

18.09.09 26.06.09 29.07.09 30.10.09 20.11.09 14.08.09

23.01.09

18.06.10 05.03.10 07.05.10 30.06.10 19.11.10 16.07.10 09.07.1021.05.10 26.03.1024.11.10

19.02.10 19.03.10 09.07.10 15.01.10 29.10.10 29.01.10 03.02.10 13.10.10 06.08.10 24.09.10 20.08.10 15.10.10 21.05.10 17.09.10 09.04.10 21.05.1003.03.10

GerMaN FILMS – Market Study USA 5

30,07027,34921,43816,0139,5802,465

80

415,004,880334,191,110312,128,345300,531,751295,983,305292,576,195251,513,985238,395,990217,581,231200,821,936

15,541,54910,095,170 7,638,2416,617,8675,190,196

711,421622,403435,274368,088336,467276,901145,526144,022108,620102,04267,51954,305

6 GerMaN FILMS – Market Study USA

der rOte BarON (Ger) Here & tHere (Ser/uS/Ger)eyeS WIde OPeN (ISr/Fr/Ger)dOuBLe take (BeL/Fr/Ger) HadeWIJCH (Fr/Ger) aLtIPLaNO (Ger/BeL/NL)

SALES AGENTS FOR GERMAN F ILMS DISTRIBUTED THEATRICALLY IN THE UNITED STATES

aBSurdIStaN Beta CinemaaLLe aNdereN Global ScreenaLtIPLaNO Meridiana FilmsaNONyMa – eINe Frau IN BerLIN Beta CinemaauF der aNdereN SeIte the Match FactoryBIS SPÄter MaX! dIe LIeBe kOMMt, dIe LIeBe GeHt Fortissimo FilmstHe INterNatIONaL Sony Pictures releasingJerICHOW the Match FactoryJOHN raBe Beta CinemakIrSCHBLÜteN – HaNaMI Global ScreentHe LaSt StatION the Little Film CompanyMeIN FÜHrer – dIe WIrkLICH WaHrSte WaHrHeIt ÜBer adOLF HItLer Beta CinemaNOrdWaNd Beta CinemaPaNdOruM Summit entertainmentder rOte BarON arclight FilmsSOuL kItCHeN the Match FactorySturM trust NordiskVISION: auS deM LeBeN der HILdeGard VON BINGeN Celluloid dreamsVIVere Media Luna New FilmsdaS WeISSe BaNd Les Films du LosangedaS WILde LeBeN Beta CinemaWOLke 9 the Match FactoryyeLLa the Match Factory

TELEV IS ION

Looked at from outside, there is a paradox at the heart of american television. Or maybe it’s a prediction for the future. While the history of television in the uS is different from that in every othercountry surveyed, it has nonetheless emerged as the model to which almost all broadcasters now look. the difference lies in the fact that uS tV has always been a commercial operation. a state-subsidised Public Broadcasting System (PBS) does exist. But it came long after the emergence of commercial television; is not directly supported by any kind of license fee; is extremely small-scale; and does not produce its own programming. the sprawling array of specialist pay-tV channels, on the other hand, is a pattern gradually being replicated in every country, from romania toChina, and from Finland to argentina.

Monterey MediaCinema PurgatorioNew american kinoIFC FilmsFirst run Features

19.03.10 15.05.1005.02.10 02.06.10 24.12.10 20.08.10

37,18927,15626,25820,2185,0062,961

a history of uS television lies far beyond the ambitions of this brief survey, but basic facts are essential for an understanding of the set-up. american tV technically started in 1943 but in practiceit was the years immediately following WWII that sealed america’s love affair with the box. the number of tV sets rose from 14,000 in 1946 to a million in 1949 and 32 million in 1954 – a 2,285-fold increase. Currently, the number of tVs in the uS is around 327 million, with most uS homes inhabited by an average of 2.5 people, each of whom has access to an average of 2.8 televisionsets.

For the first three decades, uS television was dominated by three major networks, which had begun in the radio era: NBC (the National Broadcasting Company), CBS (the Columbia BroadcastingSystem) and aBC (the american Broadcasting Company), colloquially known as, respectively, the Peacock Network (because of its multi-coloured, fan-shaped logo), the eye Network (againbecause of its eye-shaped logo) and the alphabet Network (for obvious reasons). these networks operated a series of local franchises and remained the only three channels available in ruralareas for three decades; major cities also had independent channels – varying in number between 10 and 20 – with an audience only as far as their transmitters could reach.

this situation lasted until 1986, when Fox took its local channels nationwide. twenty years later, in 2006, a fifth network, the CW, jointly owned by Columbia Broadcasting, time Warner and uPN,was added. at present, NBC is owned by NBCuniversal (which also operates a movie studio), and which is in turn a subsidiary of cable company Comcast and utilities giant General electric. CBSis run by media mogul Sumner redstone through Viacom and National amusements. aBC is owned by the Walt disney Company. While tV was the enemy of Hollywood in the 1950s, it is now, inownership terms, inextricably bound up with the movie business.

the second phase of uS television history began in the early 1980s, when cable and satellite began to make their mark. they appealed to audiences, as they have done almost everywhere else inthe world, by launching movie channels. Cable tV content was initially purchased as a service from an individual provider, but as cable channels signed deals with the service providers, uS tVviewers stopped thinking in terms of service providers and began to inhabit a multi-channel universe. the 15 main uS cable channels are:

CHANNEL LAUNCH* CONTENT

HBO 1972 Original drama and moviestBS 1976 Originally comedy, now also sitcom and series re-runseSPN 1979 Sports and some original programmingNickelodeon 1979 Children’s entertainment (sitcom and soap re-runs at night)uSa Network 1979 General entertainment, original drama and moviesCNN 1980 NewsMtV 1981 Originally music, now reality programmingdisney 1983 Family entertainment and moviesLifetime 1984 Lifestyle, series re-runs and moviesdiscovery Channel 1985 documentaries, reality showstNt 1988 drama and moviesCartoon Network 1992 Children’s entertainmentSyfy 1992 Originally science fiction, now original programminganimal Planet 1996 documentariesMSNBC 1996 News*In the channel’s present format

there are additionally two Spanish-language networks – univision, which is a network of Spanish-language stations; and telemundo, linked to NBC – plus a constantly changing long tail ofspecialist stations and sub-channels, offering everything from religion to porn.

GerMaN FILMS – Market Study USA 7

as noted above, movies were the original driving force of the 1980s cable explosion, with the chance to see the latest Hollywood movies in ‘the comfort of your own home’ a major selling point.Films remain a staple item on uS pay-tV programming, with the major movie channels relying on either entire libraries bought from, or output deals signed with, studios and major independents.the emergence of HBO as a dominant force in uS television, thanks to major drama series like tHe SOPraNOS, tHe WIre, Mad MeN and BOardWaLk eMPIre, has done much to changeviewing habits over the past half-decade, with the networks losing audiences – and, as a result, advertising revenue – and pay-tV channels gaining market share. to a large extent, high-profileseries have taken over the ‘water-cooler’ function which network tV used to have in the 1960s to the 1980s. the same is to an extent also true of reality television.

even specialist movie channels programme very little in the way of non-english-language movies (other than in Spanish for Hispanic audiences). Movie channel Starz, for instance, runs six mainchannels (Starz, Starz edge, Starz in Black, Starz Comedy, Starz Cinema and Starz kids & Family) all showing recent movies; eight encore channels (encore, encore español, encore action,encore Love, encore Westerns, encore Suspense, encore drama and encore Family) showing older movies; and three Movieplex channels (Movieplex, Indieplex and retroplex) offering a slightlydifferent mix.

there is no movie channel devoted exclusively to ‘foreign’ movies, although major players such as Showtime and Sony do include ‘foreign’ as one of their list of genres. that label covers filmsfrom any non-english-speaking country and the pickings are fairly slim. the noted uS aversion to subtitles still rules american tV.

Snapsho t : Country of origin of films screened on three uS movie channels over a seven-day period*

Starz Cinema Showtime Flix Sony Movie Channel Total

US 36 190 109 335UK 12 21 11 44France 5 2 0 7Australia 2 4 0 6Germany 1 4 0 5Canada 1 2 0 3China 0 2 1 3Hong Kong 2 0 1 3Denmark 0 2 0 2Ireland 0 1 1 2Mexico 0 1 1 2Netherlands 1 1 0 2New Zealand 1 1 0 2Other 4 3 0 7

Total 65 234 124 423*27 March-3 april 2012

the German titles scheduled were BeLLa MartHa, BOat trIP, ParIS teXaS, rOSeNStraSSe and teN MINuteS OLder – tHe truMPet. With the exception of rOSeNStraSSe, all were eitherenglish-language or english dubbed.

8 GerMaN FILMS – Market Study USA

DVD2007 2008 2009

Number of DVD households 91.61 93.08 93.92DVD households as a percentage 81.8 82.3 82.4New DVD titles (retail) 13,772 12,853 11,714New DVD titles (rental) n/a n/a n/aDVD sales (in millions of euros) 917.2 837.6 740.1DVD rentals (in millions of euros) 2,184.4 2,177.7 2,148.2Total DVD turnover (in millions of euros) 14,725.6 12,523.4 11,376.2Number of Blu-ray households 490,000 3,140,000 8,087,000Total Blu-ray turnover (in millions of $US) 224.36 812.27 1,506.67Average DVD price (in euros) 2.44 2.1 2.0Average Blu-ray price (in euros) 23.33 19.06 17.85

the dVd business in the uS is, as with television, the pattern for the rest of the world – which means that its decline began earlier in the uS than elsewhere. almost all households (93%) havedVd players; the number of Blu-ray players increased exponentially (1,500%) between 2007 and 2009; and the average cost of a dVd has remained pretty stable, while the cost of a Blu-ray hasfallen by 23.5% over the same period. all of these are trends that can be seen as beginning maybe a year or more later in most other territories but following much the same pattern.

Certainly, the accepted wisdom in uS industry circles is that dVd (and Blu-ray) rental is moribund, and dVd and Blu-ray retail is in sharp decline: where once the two combined would havegenerated revenue equal to a film’s theatrical release, now they generate only around 60% of theatrical box office. Blockbuster stores have been replaced by an online business; times Square inNew york City is no longer buzzing with record and dVd stores.

But the market is far from dead: there are still enough people who want to buy a physical disc to ensure that hit movies can sell between 5 and 8 million units (the best seller of the past threeyears is aVatar at just over 10 million units, generating $183.6 million in revenue). the generally emerging view in Hollywood – see below – is that the future lies in VOd. But the present statusof physical distribution remains fairly robust, with combined retail and rental of dVd and Blu-ray generating around $18 billion in 2010, with the fall in sales continuing but slowing during 2011.How relevant all of this is to producers of non-english-language films is hard to say. the top 100 dVds in the uS for each of the past two years have been overwhelmingly english-language (theonly exception is PONyO ON a CLIFF By tHe Sea, released in a version with english dialogue), and the performance of German titles at the american theatrical box office (see above) does notexactly create strong demand for the dVd business. But the supply is good. Leading online retailer amazon has 750,000 titles on its site, 43,949 of which are classified as ‘foreign’. the amazonsearch engine produces numerous duplications, and the high percentage of Spanish titles below is largely accounted for by Spanish-produced porn. But the breakdown below is probably repre-sentative

COUNTRY OF ORIGIN OF THE TOP 200 ‘FOREIGN LANGUAGES & INTERNATIONAL’ MOVIES ON AMAZON.COM

UK 38France 24Japan 21Sweden 19Spain 15China 12Germany 10Hong Kong 11

GerMaN FILMS – Market Study USA 9

Korea 7Norway 6Italy 5Russia 4Other 28

Given the way the amazon site works – the ‘most popular’ category is constantly updated on a second-by-second basis to reflect sales, and so will never give the same result twice – the above200-title sample may be slim but yields familiar and probably typical results (with classic titles and New German Cinema films notable by their absence):

Recent movies Gay-themed movies OthersdIe FetteN JaHre SINd VOrBeI eCHte kerLe daS BOOtdaS LeBeN der aNdereN Stadt LaNd FLuSS tHe BurNING MOONNOrdWaNd rOMeOSder uNterGaNGWOLke 9

VOD

the uS film business, which is as change-resistant as most established industries, resisted the online business for most of the late 2000s, both because it feared piracy and because it saw onlineas a competitor to a dVd business which it both understood and could control. But Hollywood has now largely accepted that online will eventually make up for the decline in dVd sales and rental.the general prognosis, according to Variety (17 October 2011), is that VOd will account for 20% of annual box office by 2014, not quite making up for the decline in dVd revenue, but certainlyhelping plug the gap. according to HIS Screen digest, online revenue has increased tenfold over the last four years, standing at $259.4 million in 2010. Growth rates have moved from 10% a yearto 24% a year, with platforms carefully tailoring their pricing to demand on a much more precise basis than is possible with physical sales and rental (the VOd cost of a feature varies from $4.99for old movies to $17.99 for recent releases). and the uS is the world leader in this field.

2011 VOD REVENUE PER GEOGRAPHICAL REGION (IN MILLIONS OF US$)

North America 1,660 41%Western Europe 1,420 36%Asia/Pacific 571 14%Eastern Europe 144 4%Latin America 121 3% Middle East & Africa 80 2%Source: digital tV research/Variety

as with the dVd business, this provides limited comfort for niche distributors, whether of uS indie titles or of foreign-language films. the reason is simple: in order to grow the business andcover advertising and other start-up costs, online platforms lure new customers with the hottest, most recent titles. the long tail which characterises amazon’s book business requires anenormous stock of titles which took amazon almost a decade to amass, and stocking up on library titles and/or films which are likely to attract less than 10 transactions a week is never going tobe a priority for the big online platforms. according to the website foreignfilms.com, 662 ‘foreign films’ are currently available as streaming video from Netflix and/or amazon. although the site’sattribution of nationality is not always correct, the information is more exhaustive than that from any other source and the site well above average in terms of accuracy.

10 GerMaN FILMS – Market Study USA

COUNTRY OF ORIGIN OF FILMS AVAILABLE ON DEMAND LISTED BY FOREIGNFILMS.COM

France 116Japan 83Italy 72Germany 54Spain 43Russia 34Korea 29Hong Kong 27Argentina 25China 24Brazil 23Sweden 23Mexico 20Netherlands 20Iran 19Denmark 17India 13Poland 10Taiwan 9

as in most developed markets, the available German titles can be divided into familiar categories:

GerMaN FILMS – Market Study USA 11

Recent movies (2000-2010)aNONyMa – eINe Frau IN BerLINauF der aNdereN SeIteder Baader MeINHOF kOMPLeXdaS eXPerIMeNtGeGeN dIe WaNddIe GeSCHICHte VOM WeINeNdeN kaMeLGOOd Bye, LeNIN!HÖLLeNtOurIM JuLIJOHN raBekIrSCHBLÜteN – HaNaMIkÖNIG der dIeBeder krIeGer uNd dIe kaISerINNIrGeNdWO IN aFrIkaNaPOLa – eLIte FÜr deN FÜHrerder NeuNte taGNOrdWaNdSOPHIe SCHOLL – dIe LetzteN taGe

StaLINGrad (2003)der uNterGaNGdaS WeISSe BaNd

Movies from the 1990saIMÉe & JaGuarBeLLa MartHaCOMedIaN HarMONIStSeurOPa, eurOPaGLOOMy SuNday – eIN LIed VON LIeBe uNd tOdGrOSSe MÄdCHeN WeINeN NICHtJeNSeItS der StILLeLektIONeN IN FINSterNISStaLINGrad (1993)

Films from the 1920s and 1930sdIe aBeNteuer deS PrINzeN aHMeddIe BÜCHSe der PaNdOradr. MaBuSe

daS CaBINet deS dr. CaLIGarIFauSt – eINe deutSCHe VOLkSSaGeder Letzte MaNNMMetrOPOLISMetrOPOLIS (reMaStered WItH NeW SCOre)NOSFeratueINe SyMPHONIe deS GraueNS

New German Cinema aGuIrre der zOrN GOtteSdIe eHe der MarIa BrauNder HIMMeL ÜBer BerLINJeder FÜr SICH uNd GOt GeGeN aLLeNOSFeratuPHaNtOM der NaCHtStrOSzekdIe VerLOreNe eHre der katHarINa BLuMWerNer HerzOG BOX Set

GENERAL NOTES

the uS has always tended to be the market by which the success or failure of international films is judged: if a movie doesn’t make some impact in america, it hasn’t really travelled. this is aproblematic attitude for producers of european movies made in a language other than english, since the uS is a market with a strong degree of resistance to foreign-language films, and hasproved especially difficult for German films of late. In the three years surveyed, only one non-english-language German film – daS WeISSe BaNd – has crossed the all-important $1-millionmark, while only eight of the remaining 20 releases grossed over $100,000. true, three very different english-language films – tHe INterNatIONaL, PaNdOruM and tHe LaSt StatION – havedone reasonable business, grossing $25.5 million, $10.3 million and $6.6 million respectively. But the total gross for German-language films on the uS market from 2008-2010 was $5.8 million,with two films – daS WeISSe BaNd and auF der aNdereN SeIte – accounting for over half that total.

Box office apart, however, German films do seem to have a regular toe-hold on the american market and, with festival and special-event promotion, should manage to maintain a profile, as wellas providing German actors and directors with the chance of being talent-spotted for studio movies.

the uS ancillary market is, if anything, more difficult to crack, with only the most specialised of tV outlets tolerating subtitles. and, with the slow shift from physical distribution of home enter-tainment to VOd seeming almost inevitable, there could be a period of transition during which only the most obviously commercial english-language titles will be offered to encourage audiencesto make the switch. the number of titles apparently available on dVd is clearly far greater than those offered on VOd platforms – a trend which seems likely to continue for the next couple ofyears and to put something of a squeeze on the ancillary market for specialised and/or foreign-language titles. as in so many areas of the digital revolution, a narrowing rather than a democra-tisation of the market looks like being the first stage.

Sources: FedStats, uS Census Bureau, x-rates.com Motion Picture association of america (MPaa), National association of Cinema Owners (NatO), CIa Factbook, tV by the Numbers, www.the-numbers.com, foreignmovies.com, Variety, european

audiovisual Observatory, Split Screen data Ltd

PHOTOS

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12 GerMaN FILMS – Market Study USA

Films about World War IIdaS GOeBBeLS eXPerIMeNttrIuMPH deS WILLeNStHe WONderFuLHOrrIBLe LIFe OF LeNI rIeFeNStHaL

Films from the DDRICH War NeuNzeHNdIe MÖrder SINd uNter uNS