1) Hollywood dominates Europe’s animated film market.
Four fifths of admissions to animated films on the continent are for U.S. productions. European features accounts for 16% (an average of 35.1 million annual admissions), while the non-European/non-U.S. features account for 3%. Across all categories of film, European titles account for a much bigger 29% of admissions in Europe (true of E.U. nations in 2019).
2) Europe produces around 55 theatrical animated films per year.
France leads the pack, with an average of 8.8 films per year as sole producer or majority co-producer. Russia follows with seven films, then Germany with six. There was a big spike in 2018, which saw 84 films. The total number is up from an annual average of 50 in 2010–14.
3) A third of these films are international co-productions.
Or 37%, to be precise. Russia is an outlier here, in terms of its independence: it produced 32 of its 39 films alone. So is Turkey, which produced all 16 of its films alone. For France, in contrast, 44 out of 55 films were co-productions. Across European live-action fiction films in 2019, only 22% were co-productions.
4) British productions get more admissions than films from any other country.
Animated films from the U.K. averaged 13.3 million admissions per year; France came next with 11.5 million. But there’s a big caveat: the report counts British films like Paddington 2 and Cats as “animation,” when in fact they are hybrid films with substantial amounts of live ation.
5) The Little Prince is the most popular European animated film of 2015–19 …
… in terms of worldwide admissions: 17.6 million. Paddington 2 is ahead of it in the chart, but isn’t fully animated; nor is Cats, which is also in the top ten. Of the eight animated films in the top ten, three are co-directed by the Belgian Ben Stassen: Robinson Crusoe, The Son of Bigfoot, and The Queen’s Corgi. The U.S. or Canada are co-producers on five of those eight.
6) China is the biggest market for European animated films outside Europe.
The country sees an average 6.51 million admissions annually for these films — that’s almost 40% of their non-European market. The U.S. is a distant second, with 2.76 million. In all, European animated films’ admissions are split roughly evenly between their native country(/ies), other European countries, and the rest of the world.
Data is based on the Observatory’s Lumiere database. Graphs reproduced with Observatory’s permission.
Image at top: “The Little Prince”