“Distributors Are Under Growing Pressure”: Unifrance President Gilles Pélisson on the Challenges and Promise of French Exports
Ahead of the Unifrance Rendez-vous in Le Havre, Pélisson reflects on the resilience of French content abroad, the shifts in global buyer behavior, and why France’s export model is still strong.
How is French content performing abroad right now?
Gilles Pélisson: Over the past few years, French audiovisual exports have remained relatively stable — and considering the volatility of the global market, that’s quite a feat. On September 2, during our Export Day in Le Havre, we’ll unveil the 2024 numbers alongside Gaëtan Bruel and Daniela Elstner.
But beyond collecting figures, our real challenge is interpreting them. These stats often reflect trends rather than actual viewing data, largely because streaming platforms don’t share complete or standardized audience metrics. That’s something I’ll be discussing with Yannick Carriou, the CEO of Médiamétrie, during the morning session.
What’s certain is that French production continues to shine globally. It’s not done making its mark.
What types of scripted content are working internationally? What are buyers looking for?
French fiction is finding solid traction worldwide, largely thanks to the diversity of our formats and storytelling styles. You only need to look at global hits like Lupin or Cat’s Eyes to see that. Older titles like Tropiques Criminels and Astrid et Raphaëlle are still circulating widely, especially on linear channels.
Streaming platforms continue to push newer productions like AKA, Ad Vitam and Under Paris (Sous la Seine), all available on Netflix. The growing number of adaptations — think The Bureau (Le Bureau des Légendes) and HPI, both remade for the U.S. market — also reflects our international appeal.
We’re seeing a boom in light crime procedurals, too. Series like Tom & Lola have found success abroad. At the same time, France is producing more prestige titles — two of which are in this year’s Venice selection: A Prophet (Un Prophète) and Etty. Another high-end title, The Deal, was recently showcased in Locarno.
What’s the mood among French distributors right now?
They’re under increasing strain. Buyers are traveling less. Markets are becoming more fragmented. Broadcasters are under pressure, and platforms are dominating the global content race. And yet, French content continues to sell across genres — fiction, animation, documentary. There’s a resilience, a creativity that hasn’t waned.
Distributors are adapting, staying motivated and inventive despite a difficult economic climate. Their commitment to finding new ways forward is remarkable.
What should we expect from the Rendez-vous in Le Havre this year?
After a successful first edition, we’re expecting around 150 buyers from 40 countries. That’s a solid turnout given the current market tensions.
We’ve locked in the entire first morning for screenings — over 500 audiovisual works across all genres will be available. This remains the only market in the world offering physical screening rooms for content discovery.
The event also includes theatrical screenings and a gala at the Carré des Docks, where we’ll premiere the series La Terre et le Sang, with the creative team attending. We’ll also host events in iconic locations like the MuMa (in the presence of Edouard Philippe) and the Palais Bénédictine in Fécamp, with Hervé Morin inviting guests to discover Normandy’s culinary scene with top regional chefs.
This unique mix of business, culture, and creativity makes Le Havre a standout moment for kicking off the second half of the year.
It’s been nearly two years since you took office. What’s your first assessment?
It’s still early for a full assessment — we have another year ahead, and I know it will be intense and rewarding. When I stepped into the role, succeeding Serge Toubiana and Hervé Michel, it was clear the challenges were big and the market evolving fast.
Our priority was to secure more funding for the organization. With Daniela Elstner, and with help from the CNC and the creation of our endowment fund, we’ve managed to do that. It will never be enough, of course — our members’ needs are wide-ranging and constantly evolving.
Thanks to essential support from the Ministry of Europe and Foreign Affairs, as well as the Procirep, we’ve been able to maintain and even grow our initiatives, despite inflation.
These past two years have shown me just how unique and valuable the Unifrance model is. It’s driven by the passion and dynamism of our team and members — and I’m proud to help carry it forward.