Editing Cinema of France (section)

=== Post–World War II ===

==== 1940s–1970s ====
[[File:Louis Jourdan - Leslie Caron - Maurice Chevalier - Gigi, 1958.jpg|thumb|right|upright|[[Leslie Caron]] with [[Louis Jourdan]] and [[Maurice Chevalier]] on the set of [[Gigi (1958 film)|''Gigi'']] (1958).]]

In the magazine {{Lang|fr|[[Cahiers du cinéma]]}}, founded by [[André Bazin]] and two other writers in 1951, film critics raised the level of discussion of the cinema, providing a platform for the birth of modern [[film theory]]. Several of the ''Cahiers'' critics, including [[Jean-Luc Godard]], [[François Truffaut]], [[Claude Chabrol]], [[Jacques Rivette]] and [[Éric Rohmer]], went on to make films themselves, creating what was to become known as the [[French New Wave]]. Some of the first films of this new movement were Godard's ''[[Breathless (1960 film)|Breathless]]'' (''À bout de souffle'', 1960), starring [[Jean-Paul Belmondo]], Rivette's ''[[Paris Belongs to Us]]'' (''Paris nous appartient'', 1958 – distributed in 1961), starring [[Jean-Claude Brialy]] and Truffaut's ''[[The 400 Blows]]'' (''Les Quatre Cent Coups'', 1959) starring [[Jean-Pierre Léaud]]. Later works are ''[[Contempt (film)|Contempt]]'' (1963) by Godard starring [[Brigitte Bardot]] and [[Michel Piccoli]] and ''[[Stolen Kisses]]'' starring Léaud and [[Claude Jade]]. Because Truffaut followed the hero of his screen debut, [[Antoine Doinel]], for twenty years, the last post-New-Wave-film is ''[[Love on the Run (1979 film)|Love on the Run]]'' in which his heroes Antoine (Léaud) and Christine (Jade) get divorced.

[[File:Stevan Kragujevic, Alain Delon in Belgrade, 1962 (1).JPG|thumb|left|upright|[[Alain Delon]] was known as much for his beauty as for his acting career and holds an enduring status as a leading man in French cinema.]]
After World War II, the French actress [[Leslie Caron]] and the French actor [[Louis Jourdan]] enjoyed success in the United States with several [[Musical film|musical romantic comedies]], notably [[An American in Paris (film)|''An American in Paris'']] (1951) and [[Gigi (1958 film)|''Gigi'']] (1958), based on the 1944 novella of the same name by [[Colette]].

Many contemporaries of Godard and Truffaut followed suit, or achieved international critical acclaim with styles of their own, such as the [[Minimalism|minimalist]] films of [[Robert Bresson]] and [[Jean-Pierre Melville]], the Hitchcockian-like thrillers of [[Henri-Georges Clouzot]], and other New Wave films by [[Agnès Varda]] and [[Alain Resnais]]. The movement, while an inspiration to other national cinemas and unmistakably a direct influence on the future [[New Hollywood]] directors, slowly faded by the end of the 1960s.

[[File:Brigitte Bardot - 1962.jpg|thumb|upright|right|[[Brigitte Bardot]] was one of the most famous French actresses in the 1960s.]]

During this period, French commercial film also made a name for itself. Immensely popular French comedies with [[Louis de Funès]] topped the French box office. The war comedy ''[[La Grande Vadrouille]]'' (1966), from [[Gérard Oury]] with [[Bourvil]], de Funès and [[Terry-Thomas]], was the most successful film in French theaters for more than 30 years. Another example was ''[[Delusions of Grandeur (film)|La Folie des grandeurs]]'' with [[Yves Montand]]. French cinema also was the birthplace for many subgenres of the [[crime film]], most notably the modern [[caper film]], starting with 1955's ''[[Rififi]]'' by American-born director [[Jules Dassin]] and followed by a large number of serious, noirish heist dramas as well as playful caper comedies throughout the sixties, and the "polar," a typical French blend of [[film noir]] and [[detective fiction]].

In addition, French movie stars began to claim fame abroad as well as at home. Popular actors of the period included [[Brigitte Bardot]], [[Alain Delon]], [[Romy Schneider]], [[Catherine Deneuve]], [[Jeanne Moreau]], [[Simone Signoret]], [[Yves Montand]], [[Jean-Paul Belmondo]] and still [[Jean Gabin]].

[[File:Avant-première L'Amour en fuite Luxembourg Cinéma Marivaux 18 avril 1979 Photo Carlo Hansen Luxembourg.jpg|thumb|right|Director [[François Truffaut]] and actress [[Claude Jade]] at the première of their third common film ''[[Love on the Run (1979 film)|Love on the Run]]'' in Luxembourg, April 1979]]

Since the Sixties and the early Seventies they are completed and followed by [[Michel Piccoli]] and [[Philippe Noiret]] as character actors, [[Annie Girardot]], [[Jean-Louis Trintignant]], [[Jean-Pierre Léaud]], [[Claude Jade]], [[Isabelle Huppert]], [[Anny Duperey]], [[Gérard Depardieu]], [[Patrick Dewaere]], [[Jean-Pierre Cassel]], [[Miou-Miou]], [[Brigitte Fossey]], [[Stéphane Audran]] and [[Isabelle Adjani]]. During the Eightees they are added by a new generation including [[Sophie Marceau]], [[Emmanuelle Béart]], [[Jean-Hugues Anglade]], [[Sabine Azema]], [[Juliette Binoche]] and [[Daniel Auteuil]].

In 1968, the May riots shook France. [[François Truffaut]] had already organised demonstrations in February against [[Henri Langlois]]'s removal as head of the [[Cinémathèque française]] and dedicated his film ''[[Stolen Kisses]]'', which was being made, to Langlois. The Cannes Film Festival is cancelled – on the initiative of Truffaut, Godard and Louis Malle. Jean-Luc Godard no longer works in the commercial film business for years. Political films such as [[Costa-Gavras]]' ''[[Z (1969 film)|Z]]'' celebrate success. Chabrol continues his vivisection of the bourgeoisie (''[[The Unfaithful Wife]]'') and Truffaut explores the possibility of bourgeois marital happiness (''[[Bed and Board (film)|Bed and Board]]'').
While Godard disappears from cinema after the Nouvelle Vague except for a few essays, Truffaut and Chabrol remain the leading directors whose artistic aspects remain commercially successful. Other directors of the 1970s in this effect are [[Bertrand Tavernier]], [[Claude Sautet]], [[Eric Rohmer]], [[Claude Lelouch]], [[Georges Lautner]], [[Jean-Paul Rappeneau]], [[Michel Deville]] [[Yves Boisset]], [[Maurice Pialat]], [[Bertrand Blier]], [[Coline Serreau]] and [[André Téchiné]] in purely entertainment films, it is [[Gérard Oury]] and [[Édouard Molinaro]].

The 1979 film ''[[La Cage aux Folles (film)|La Cage aux Folles]]'' ran for well over a year at the [[Paris Theatre]], an [[arthouse cinema]] in New York City, and was a commercial success at theaters throughout the country, in both urban and rural areas. It won the [[Golden Globe Award for Best Foreign Language Film]], and for years it remained the most successful foreign film to be released in the United States.<ref>{{cite web |url=https://www.boxofficemojo.com/genres/chart/?id=foreign.htm |title=Foreign Languages Movies |publisher=Boxofficemojo.com |access-date=19 April 2012 |url-status=live |archive-url=https://web.archive.org/web/20100724001435/http://www.boxofficemojo.com/genres/chart/?id=foreign.htm |archive-date=24 July 2010 }}</ref>

==== 1980s ====
[[File:DARRIEUX Danielle-24x30-2008b.jpg|thumb|upright|right|[[Danielle Darrieux]] (pictured in 2008) was a French centenarian, who had one of the longest careers in French cinema, spanning eight decades]]

[[Jean-Jacques Beineix]]'s ''[[Diva (1981 film)|Diva]]'' (1981) sparked the beginning of the 1980s wave of French cinema. Movies which followed in its wake included ''[[Betty Blue]]'' (''37°2 le matin'', 1986) by Beineix, ''[[The Big Blue]]'' (''Le Grand bleu'', 1988) by [[Luc Besson]], and ''[[The Lovers on the Bridge]]'' (''Les Amants du Pont-Neuf'', 1991) by [[Léos Carax]]. Made with a slick commercial style and emphasizing the alienation of their main characters, these films are representative of the style known as ''[[Cinema du look]]''.

''[[Camille Claudel (film)|Camille Claudel]]'', directed by newcomer [[Bruno Nuytten]] and starring [[Isabelle Adjani]] and [[Gérard Depardieu]], was a major commercial success in 1988, earning Adjani, who was also the film's co-producer, a [[César Award]] for best actress. The [[historical fiction|historical drama]] film ''[[Jean de Florette]]'' (1986) and its sequel ''[[Manon des Sources (1986 film)|Manon des Sources]]'' (1986) were among the highest grossing French films in history and brought Daniel Auteuil international recognition.

According to [[Raphaël Bassan]], in his article «''[[The Angel (1982 film)|The Angel]]'': Un météore dans le ciel de l'animation,» ''La Revue du cinéma'', n° 393, avril 1984. {{in lang|fr}}, [[Patrick Bokanowski]]'s ''[[The Angel (1982 film)|The Angel]]'', shown in [[1982 in film|1982]] at the [[1982 Cannes Film Festival|Cannes Film Festival]], can be considered the beginnings of contemporary animation. The masks erase all human personality in the characters. [[Patrick Bokanowski]] would thus have total control over the "matter" of the image and its optical composition. This is especially noticeable throughout the film, with images taken through distorted objectives or a plastic work on the sets and costumes, for example in the scene of the designer. [[Patrick Bokanowski]] creates his own universe and obeys his own aesthetic logic. It takes us through a series of distorted areas, obscure visions, metamorphoses and synthetic objects. Indeed, in the film, the human may be viewed as a fetish object (for example, the doll hanging by a thread), with reference to [[Franz Kafka#"Kafkaesque"|Kafkaesque]] and [[Siegmund Freud|Freudian]] theories on [[automaton|automata]] and the fear of man faced with something as complex as him. The ascent of the stairs would be the liberation of the ideas of death, culture, and sex that makes us reach the emblematic figure of the angel.

==== 1990s ====
[[File:Juliette Binoche 2000.jpg|thumb|upright|[[Juliette Binoche]] at the 2000 Cannes Film Festival]]
Jean-Paul Rappeneau's ''[[Cyrano de Bergerac (1990 film)|Cyrano de Bergerac]]'' was a major box-office success in 1990, earning several [[César Award]]s, including best actor for [[Gérard Depardieu]], as well as an [[Academy Awards|Academy Award]] nomination for best foreign picture.

[[Luc Besson]] made ''[[La Femme Nikita (film)|La Femme Nikita]]'' in 1990, a movie that inspired remakes in both United States and in Hong Kong. In 1994, he also made ''[[Léon: The Professional|Léon]]'' (starring [[Jean Reno]] and a young [[Natalie Portman]]), and in 1997 ''[[The Fifth Element]]'', which became a cult favorite and launched the career of [[Milla Jovovich]].

[[Jean-Pierre Jeunet]] made ''[[Delicatessen (1991 film)|Delicatessen]]'' and ''[[The City of Lost Children]]'' (''La Cité des enfants perdus''), both of which featured a distinctly fantastical style.

In 1992, [[Claude Sautet]] co-wrote (with Jacques Fieschi) and directed ''[[Un Coeur en Hiver]]'', considered by many to be a masterpiece. [[Mathieu Kassovitz]]'s 1995 film ''Hate'' (''[[La Haine]]'') received critical praise and made [[Vincent Cassel]] a star, and in 1997, [[Juliette Binoche]] won the [[Academy Award for Best Supporting Actress]] for her role in ''[[The English Patient (film)|The English Patient]]''.

The success of [[Michel Ocelot]]'s ''[[Kirikou and the Sorceress]]'' in 1998 rejuvenated the production of original feature-length animated films by such filmmakers as [[Jean-François Laguionie]] and [[Sylvain Chomet]].

==== 2000s ====
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| footer    = [[Marion Cotillard]] (left) and [[Jean Dujardin]] (right), both awarded with an [[Academy Awards|Academy Award]] in [[United States]], for their respective roles in ''[[La Vie en rose (film)|La Vie en Rose]]'' (2007) and ''[[The Artist (film)|The Artist]]'' (2011).
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In 2000, Philippe Binant realized the first [[digital cinema]] projection in [[Europe]], with the DLP CINEMA technology developed by [[Texas Instruments]], in Paris.<ref name="auto"/><ref name="auto1"/><ref name="google.com"/>

In 2001, after a brief stint in Hollywood, [[Jean-Pierre Jeunet]] returned to France with ''[[Amélie]]'' (''Le Fabuleux Destin d'Amélie Poulain'') starring [[Audrey Tautou]]. It became the highest-grossing French-language film ever released in the United States. The following year, ''[[Brotherhood of the Wolf]]''  became the sixth-highest-grossing French-language film of all time in the United States and went on to gross more than $70 million worldwide.

In 2008, [[Marion Cotillard]] won the [[Academy Award for Best Actress]] and the [[BAFTA Award for Best Actress in a Leading Role]] for her portrayal of legendary French singer [[Édith Piaf]] in ''[[La Vie en Rose (film)|La Vie en Rose]]'', the first French-language performance to be so honored. The film won two Oscars and four [[BAFTA]]s and became the third-highest-grossing French-language film in the United States since 1980. Cotillard was the first female and second person to win both an Academy Award and [[César Award]] for the same performance.

At the 2008 [[Cannes Film Festival]], ''[[Entre les murs]]'' (''The Class'') won the [[Palme d'Or]], the 6th French victory at the festival. The 2000s also saw an increase in the number of individual competitive awards won by French artists at the Cannes Festival, for [[Best Director Award (Cannes Film Festival)|direction]] ([[Tony Gatlif]], ''[[Exils]]'', 2004), [[Best Screenplay Award (Cannes Film Festival)|screenplay]] ([[Agnès Jaoui]] and [[Jean-Pierre Bacri]], ''[[Look at Me (2004 film)|Look at Me]]'', 2004), [[Best Actress Award (Cannes Film Festival)|female acting]] ([[Isabelle Huppert]], ''[[The Piano Teacher (film)|The Piano Teacher]]'', 2001; [[Charlotte Gainsbourg]], ''[[Antichrist (film)|Antichrist]]'', 2009) and male acting ([[Jamel Debbouze]], [[Samy Naceri]], [[Roschdy Zem]], [[Sami Bouajila]] and [[Bernard Blancan]], ''[[Days of Glory (2006 film)|Days of Glory]]'', 2006).

The 2008 rural comedy ''[[Bienvenue chez les Ch'tis]]'' drew an audience of more than 20 million, the first French film to do so. Its $193 million gross in France puts it just behind ''[[Titanic (1997 film)|Titanic]]'' as the most successful film of all time in French theaters.

In the 2000s, several French directors made international productions, often in the action genre. These include [[Gérard Pirès]] (''[[Steal (film)|Riders]]'', 2002), [[Pitof]] (''[[Catwoman (film)|Catwoman]]'', 2004), [[Jean-François Richet]] (''[[Assault on Precinct 13 (2005 film)|Assault on Precinct 13]]'', 2005), [[Florent Emilio Siri]] (''[[Hostage (2005 film)|Hostage]]'', 2005), [[Christophe Gans]] (''[[Silent Hill (film)|Silent Hill]]'', 2006), [[Mathieu Kassovitz]] (''[[Babylon A.D.]]'', 2008), [[Louis Leterrier]] (''[[The Transporter]]'', 2002; ''[[Transporter 2]]'', 2005; [[Olivier Megaton]] directed ''[[Transporter 3]]'', 2008), [[Alexandre Aja]] (''[[Mirrors (2008 film)|Mirrors]]'', 2008), and [[Pierre Morel]] (''[[Taken (film)|Taken]]'', 2009).

Surveying the entire range of French filmmaking today, Tim Palmer calls contemporary cinema in France a kind of eco-system, in which commercial cinema co-exists with artistic radicalism, first-time directors (who make up about 40% of all France's directors each year) mingle with veterans, and there even occasionally emerges a fascinating pop-art hybridity, in which the features of intellectual and mass cinemas are interrelated (as in filmmakers like Valeria Bruni-Tedeschi, Olivier Assayas, Maïwenn, Sophie Fillières, Serge Bozon, and others).<ref>Palmer, Tim (2011). ''Brutal Intimacy: Analyzing Contemporary French Cinema'', Wesleyan University Press, Middleton CT. {{ISBN|0-8195-6827-9}}.</ref>

==== 2010s ====
[[File:Léa Seydoux Cannes 2014 2.jpg|upright|thumb|right|[[Léa Seydoux]] at the 2014 Cannes Film Festival.]]
One of the most noticed and best reviewed films of 2010 was the drama ''[[Of Gods and Men (film)|Of Gods and Men]]'' (''Des hommes et des dieux''), about the [[Assassination of the monks of Tibhirine|assassination of seven monks in Tibhirine, Algeria]].  2011 saw the release of ''[[The Artist (film)|The Artist]]'', a silent film shot in black and white by [[Michel Hazanavicius]] that reflected on the end of Hollywood's [[Silent film|silent era]].

French cinema continued its upward trend of earning awards at the Cannes Festival, including the prestigious [[Grand Prix (Cannes Film Festival)|Grand Prix]] for ''Of Gods and Men'' (2010) and the [[Jury Prize (Cannes Film Festival)|Jury Prize]] for [[Poliss]] (2011); the [[Best Director Award (Cannes Film Festival)|Best Director Award]] for [[Mathieu Amalric]] (''[[On Tour (2010 film)|On Tour]]'', 2010); the [[Best Actress Award (Cannes Film Festival)|Best Actress Award]] for [[Juliette Binoche]] (''[[Certified Copy (film)|Certified Copy]]'', 2010); and the [[Best Actor Award (Cannes Film Festival)|Best Actor Award]] for [[Jean Dujardin]] (''The Artist'', 2011).

In 2011, the film ''[[The Intouchables]]'' became the most watched film in France (including the foreign films). After ten weeks nearly 17.5 million people had seen the film in France,<ref>{{cite web |url=http://www.rtl.fr/actualites/culture-loisirs/cinema/article/intouchables-est-deja-le-film-le-plus-vu-de-l-annee-7738285549 |title=Article RTL : "Intouchables" devient le film le plus vu de l'année ! |language=fr |publisher=Rtl.fr |date=25 November 2011 |access-date=19 April 2012 |url-status=live |archive-url=https://web.archive.org/web/20120210190840/http://www.rtl.fr/actualites/culture-loisirs/cinema/article/intouchables-est-deja-le-film-le-plus-vu-de-l-annee-7738285549 |archive-date=10 February 2012 }}</ref> the film was the second most-seen French movie of all time in France, and the third including foreign movies.

In 2012, with 226 million admissions (US$1,900 million) in the world for French films (582 films released in 84 countries), including 82<ref>{{cite web |url=http://www.unifrance.org/actualites/10128/unifrance-films-rapport-d-activites-2012 |title=UniFrance Films: Rapport d'activités 2012 – uniFrance Films |language=fr |publisher=Unifrance.org |access-date=2014-06-26 |url-status=live |archive-url=https://web.archive.org/web/20131005014912/http://www.unifrance.org/actualites/10128/unifrance-films-rapport-d-activites-2012 |archive-date=2013-10-05 }}</ref> million admissions in France (US$700 million), 2012 was the fourth best year since 1985. With 144 million admissions outside France (US$1,200 million),<ref>{{cite web |url=http://www.unifrance.org/box-office/74807/monde |title=Monde – uniFrance Films |language=fr |publisher=Unifrance.org |access-date=2014-06-26 |url-status=live |archive-url=https://web.archive.org/web/20110423022708/http://www.unifrance.org/box-office/74807/monde |archive-date=2011-04-23 }}</ref> 2012 was the best year since at least 1994 (since [[Unifrance]] collects data),<ref>{{cite web |url=http://www.unifrance.org/actualites/5335/2008-annee-record-pour-le-cinema-francais-a-l-international |title=2008, année record pour le cinéma français à l'international – uniFrance Films |language=fr |publisher=Unifrance.org |access-date=2014-06-26 |url-status=live |archive-url=https://web.archive.org/web/20090619034932/http://www.unifrance.org/actualites/5335/2008-annee-record-pour-le-cinema-francais-a-l-international |archive-date=2009-06-19 }}</ref> and the French cinema reached a market share of 2.95% of worldwide admissions and of 4.86% of worldwide sales.<ref>{{cite web |url=http://www.unifrance.org/actualites/10392/unifrance-films-publie-son-bilan-complet-de-l-annee-cinema-2012 |title=UniFrance films publie son bilan complet de l'année cinéma 2012 – uniFrance Films |language=fr |publisher=Unifrance.org |access-date=2014-06-26 |url-status=live |archive-url=https://web.archive.org/web/20131111230245/http://www.unifrance.org/actualites/10392/unifrance-films-publie-son-bilan-complet-de-l-annee-cinema-2012 |archive-date=2013-11-11 }}</ref><ref>{{cite web |url=http://www.unifrance.org/actualites/10114/panorama-des-salles-de-cinema-a-travers-le-monde |title=Panorama des salles de cinéma à travers le monde – uniFrance Films |language=fr |publisher=Unifrance.org |access-date=2014-06-26 |url-status=live |archive-url=https://web.archive.org/web/20131006155153/http://www.unifrance.org/actualites/10114/panorama-des-salles-de-cinema-a-travers-le-monde |archive-date=2013-10-06 }}</ref> Three films particularly contributed to this record year: ''[[Taken 2]]'', ''[[The Intouchables]]'' and ''[[The Artist (film)|The Artist]]''.<ref>{{cite web |url=http://www.unifrance.org/actualites/8594/140m-d-entrees-pour-le-cinema-francais-a-l-international |title=140M d'entrées pour le cinéma français à l'international – uniFrance Films |language=fr |publisher=Unifrance.org |access-date=2014-06-26 |url-status=live |archive-url=https://web.archive.org/web/20130125015829/http://www.unifrance.org/actualites/8594/140m-d-entrees-pour-le-cinema-francais-a-l-international |archive-date=2013-01-25 }}</ref> In 2012, films shot in French ranked 4th in admissions (145 million) behind films shot in English (more than a billion admissions in the US alone), Hindi (?: no accurate data but estimated at 3 billion for the whole India/Indian languages) and Chinese (275 million in China plus a few million abroad), but above films shot in Korean (115 million admissions in South Korea plus a few millions abroad) and Japanese (102 million admissions in Japan plus a few million abroad,<ref>{{cite web |url=http://www.eiren.org/statistics_e/index.html |title=Motion Picture Producers Association of Japan , Inc |publisher=Eiren.org |access-date=2014-06-26 |url-status=live |archive-url=https://web.archive.org/web/20050505192057/http://www.eiren.org/statistics_e/index.html |archive-date=2005-05-05 }}</ref><ref>{{cite web |url=http://www.jpbox-office.com/entreesmonde.php |title=Bilan Annuel Monde |publisher=Jpbox-office.com |access-date=2014-06-26 |url-status=live |archive-url=https://web.archive.org/web/20120106083449/http://jpbox-office.com/entreesmonde.php |archive-date=2012-01-06 }}</ref> a record since 1973 et its 104 million admissions). French-language movies ranked 2nd in export (outside of French-speaking countries) after films in English. 2012 was also the year French animation studio [[Mac Guff]] was acquired by an American studio, [[Universal Pictures]], through its [[Illumination Entertainment]] subsidiary. Illumination Mac Guff became the animation studio for some of the top English-language animated movies of the 2010s, including ''[[The Lorax (film)|The Lorax]]'' and the ''[[Despicable Me]]'' franchise.

In 2015 French cinema sold 106 million tickets and grossed €600 million outside of the country. The highest-grossing film was ''[[Taken 3]]'' (€261.7 million) and the largest territory in admissions was China (14.7 million).<ref>{{cite web|url= https://variety.com/2016/film/global/france-europacorp-the-little-prince1201680899-1201680899/|title= EuropaCorp, Toons, Comedies Drive Robust 2015 for French Exports|first= John|last= Hopewell|date= January 15, 2016|access-date= January 16, 2016|work= [[Variety (magazine)|Variety]]|url-status= live|archive-url= https://web.archive.org/web/20160116162557/http://variety.com/2016/film/global/france-europacorp-the-little-prince1201680899-1201680899/|archive-date= January 16, 2016}}</ref> In that year, France produced more films than any other European country, producing a record-breaking 300 feature-length films.<ref>{{cite web |url=http://www.cnc.fr/web/fr/flux/-/journal_content/56_INSTANCE_k0Tr/18/8963838?refererPlid=64476|title=CNC – flux |website=www.cnc.fr|url-status=live|archive-url=https://web.archive.org/web/20170109021759/http://www.cnc.fr/web/fr/flux/-/journal_content/56_INSTANCE_k0Tr/18/8963838?refererPlid=64476|archive-date=2017-01-09}}</ref> France is one of the few countries where non-American productions have the biggest share; American films only represented 44.9% of total admissions in 2014. This is largely due to the commercial strength of domestic productions.<ref name="cnc.fr">{{cite web |url=http://www.cnc.fr/web/fr/frequentation-cinematographique|title=CNC – fréquentation cinématographique|website=www.cnc.fr|archive-url=https://web.archive.org/web/20151115211548/http://www.cnc.fr/web/fr/frequentation-cinematographique|archive-date=2015-11-15|url-status=dead|access-date=2017-01-08}}</ref>