What drew you to the role?
GILLES PELISSON:Ive had two professional lives.
One in the tourism world, where I was the chairman and CEO of Accor hotels.
Gilles Pélisson & Daniela ElstnerUnifrance
At TF1, I was involved in producing movies and buying a studio, Newen.
We also had the animation focused Blue Spirit production house.
I thought I could contribute something to the project.
DEADLINE:What do you think you’re free to bring and contribute Unifrance?
PELISSON:Ive worked a lot with the platforms.
Do you still see them as a threat?
PELISSON:Things have moved on.
The other big issues are AI and the move to end geo-blocking in Europe.
The report revealed a 37.8% hike in global receipts to $256M gross.
The numbers are encouraging but remain 19% below 2019.
Do think the market will ever return to pre-pandemic levels?
Whats your take on the market for the international market for French cinema now?
You just need to look at the traffic around the booths to see its really buzzing.
2020 and 2021 were difficult but since 2022 its been coming back.
I think the big issue for sales remains minumum guarantees.
These have decreased and producers can no longer necessarily look to them as before.
Just about every European distributor who counts is here, watching films and promos, reading scripts.
Berlin films are being pre-sold.
So, there is definitely a desire for French films.
The success of films likeAnatomy Of A Fallcan also only help.
Thats the beauty of cinema.
How do you feel about this at Unifrance?
DEADLINE:A lot of Russian cinema professionals with strong European connections are now living outside of the country.
How do you decide whether to categorize them as Russian or not?
ELSTNER:We look at where their companies are based and where theyre doing business.
We also have long-time Russian Rendez-vous attendees also buy for other countries.
Ive been thinking about the debate myself.
DEADLINE:But theres not partnership between the festival and Russia anymore?
ELSTNER:No, of course not.
What was the thinking behind this?
Its stopped for various reasons.
We decided to invited these buyers to the Paris Rendez-vous instead as a test.
DEADLINE:Admissions for French cinema rose 12% in North American to 1.9M in 2023.
How do you see this market?
ELSTNER:The U.S. remains a very important market and partner for French cinema.
We also work with the International Emmy Awards.
DEADLINE:Will you both be going this year?
This had a great resonance with all the major platforms.
Everyone attended as theyre now producing in France because theyre part of the system.
I think they all wanted to hear how the French government is embracing the implementation of studios.
There was a time when it was only Britain and now France is positioning itself.
