French cinema celebrates joint recovery

Ronald Shama, who owns a pair of small cinemas on the left bank in Paris, remembers well in the dark days in 2022, when he wondered whether the French passion for cinema – a hobby that France created 130 years ago – decreased in an irreplaceable way by imprisoning the item.

But that was then. In the last afternoon, Mr. Shama was sitting in a packed Parisian cafe describing happiness on Sunday in late November when he sold offers from a list of Armenian art managers-we are Mukhdan, Artafazd Bilician, Sergoy Paradjanov-is often known as solid movies.

“On that day, we broke the record for our theaters,” Mr. Shama said with a note of amazement. “It was full, throughout the day – sold, sold, sold.”

World Film Works 2024 were disappointing, partly due to Hollywood Strikes. At the Academy Awards on Sunday, Sean Baker, the winner of the Best Director of “Anora”, used his admission letter to lament the losing the era of the epidemic for hundreds of American screen screens. Mr. Baker said: “We still lose them regularly.” “If we don’t reflect this trend, we will lose a vital part of our culture.”

But in France, there was a more celebration of celebration, with new statistics indicating that its fans lead the way to return to what is known as “Les Salles” – “Dark rooms” of cinemas.

This celebration was immersed in a very French idea about the commitment of moral citizens to support the arts and do so somewhere at home. The Lumiere Institute, a Leon -based cinematic community, announced that the French admission numbers last year reached a victory over both the era of the epidemic and the “invasive digital civilization” to pass and provide.

“We know this more than ever: going to the cinema is still unique, unique and validated,” the institute wrote in an email to the supporters. “Personal, physical and emotional. It allows a statue of a way to exist in the world that nothing can prevent.”

According to Data Comscore, France was one of the few countries that witnessed an increase in the presence of the Film Theater last year over 2023, with more than 181 million participants, which is nearly a million people. Eric Marti, General Manager of Comscore Firk, said that Brazil, Britain and Turkey have witnessed an increase. But he said that the attendance numbers had decreased in every other European country, as well as in the United States.

However, at the same time, the box office revenue has increased all over the world, according to a recent report on the global media by Pricewateousecoopers, and it is likely to exceed its pre -levels by next year. This is greatly due to the people who go to films in developed countries pay more for a distinct experience, even if they are often less, said David Hancock, an OMDIA research analyst.

But Mr. Hancock said that the French audience’s relationship with films and films was a completely different thing. He said: “It is almost internal.”

The idea of ​​the French capital as a focused place for obsessive cineville is one of the cliches that are less than the arm that also has a foundation. Film theaters have long contributed to the urban scene in the city, and still do so.

The epidemic clients closed the French cinemas for 300 days in 2020 and 2021. In Paris, it may have been the only similar period in 1940, when the advanced German army led people to flee the city, prompting the closing of the temporary film theater on a large scale.

In Paris today, you can feel as if the epidemic has never happened. At the Le Champo Theater, the fans turn into a series retroactively on the Satyajit Ray and Frank Capra. In the Art House Theatre MK2 series, they attend talks by sociologists, art historians and philosophers. In November, Jeu de Paume, a museum dedicated to photography and contemporary art, opened cinema that focuses on artistic films and documentaries.

Two months ago, the Pathé Film Company opened Pathé Palace from seven screen on Grands Bulevards Street soaked in the history of cinema. The famous architect Renzo Piano dealt with renewal.

“Many people in the world have buried the movie theater and believe that the TV has led to the elimination of it permanently,” said Jerome Seedos, Chairman of the Board of Directors at the time of renewal. Mr. Sidos called the project “reasonable foolishness, an environment to welcome all dreams of dreams in this world.”

Some of this constant passion may be because many Parisian apartments are very small so that they do not accommodate a large home theater settings. The French cinema industry loves to provide another interpretation, with a group of archaeological and dolls from Swagger.

In a statement, the National Center for Cinematic and Motion Photo, or CNC, the French Government Film Agency, recovered the industry from the epidemic to the “artistic and industrial excellence of the cultural exclusion model”, referring to the national policies aimed at promoting and protecting French culture.

Olivier Hanard, who was until recently CNC’s temporary president, deeper.

He said in an interview: “We have not forgotten, as citizenship was built in the theater, from the time of the Greeks.”

Mr. Henrrard indicated that the “Cultural Exclusion” model of France supports the cinema habit, with an educational curriculum that includes subsidized trips to films for millions of schoolchildren.

The government supports small movie homes in smaller cities, while some of the most isolated villages regularly receive visits from associations that have placed temporary shows in schools and city halls.

France requires films from the first place to shoot exclusively in French theaters for four months before going to the video, and CNC oversees a complex system of tickets and fees from television channels and video broadcasting services nominated to film production.

This has created a feeling that going to movies fulfills a kind of social contract.

Mr. Shama, the owner of the cinema – is also a producer and film distributor, and the husband of French movie star Isabelle Hubert – that after the epidemic, Paris still offers the most impressive range for Cinvils.

“This is the best, because there is this option,” he said.

However, CNC noted that the presence of French cinema was nearly 13 percent less than prenatal levels. In recent years, Paris has witnessed the closure of some of the role of dear films.

But Axel Huwaii, an author and expert in French cinemas, sees hope, especially in the many restorations of iconic films either recently completed or ongoing. “The film industry is in the process of renewal,” he said.

La Pagode, a Japanese futtasi Fu from stone tools and colored glass in the seventh circle, appears this hope. Once one of the city’s most cinemas, was closed in 2015 amid a bitter rental dispute. Now, apparently under the renewal, on the narrow Babylon Street, such as the bold dream sequence divided into a vibrant pulley.

Through the street, Johan Lucian, who works in a small local pub, was monitoring the progress of renewal. When the theater is finally reopened, Mr. Lucian said, he is sure that the cinemas will return.

He said, “For Parisians, it is a way of life.” “They like to go to the cinema.”