France’s production landscape has come a long way since Emily first visited the city.
In early 2019, “Emily in Paris” was one of 15 international shoots to arrive in Gaul, generating combined local spending of approximately $70 million per quarter. Six years later, that picture looks completely different. While the post-pandemic boom has subsided, investment has soared, with 18 to 20 comparable projects now averaging $175 million over a similar period. In fact, in the first quarter of 2025, overall spending exceeded $300 million. This is driven by the return of Emily for a fifth season and strengthened areas with new capabilities in animation, VFX and studio infrastructure, all part of a broader plan to make France a one-stop shop for production.
Public support has been central to this transformation. The 2020 update to France’s International Production Tax Rebate Scheme (TRIP) added a 10% bonus on top of the standard 30% rebate for projects that spent at least $2.3 million on French VFX and post-production equipment. Since then, the France 2030 Modernization Plan has significantly enhanced infrastructure and workforce development, with new assets dotting the landscape, including a highly detailed 3.7-acre backyard that recently recreated the City of Lights that became the prototype for Paris for ‘Emily’ and her crew.
“Projects now stay longer, are shot in more days, do more VFX, and are more deeply invested,” says Arnaud Rolland, who oversees the effort for national film company CNC. “When you combine efficiency and agility, it’s easy to see why producers keep coming back. American filmmakers often say that no matter how international the project, there’s always something uniquely French on screen.”
This solid value system is an advantage in a fiercely competitive global market where tax cuts are just a gamble. As part of its growing advocacy efforts, CNC’s international committee Film France is now championing locally produced films that have made their mark on the world, spotlighting The Substance and action comedy Head of State as titles that use French locations instead of Spain, Italy, Serbia, Croatia, the UK, the US and Poland.
But Film France will tap into the iconic Gallic institution to garner even more attention in the coming years, including the next season of HBO’s “The White Lotus.”
“Father, mother, siblings”
Les Films du Losanges
“Our strength is our agility,” says Daphne Laura, head of Film France. “We can quickly coordinate across government services to meet the unique needs of any production, from military access to brand collaborations. We’ve connected filmmakers to infrastructure and historic sites that aren’t normally open to the public, and brought in gorgeous partners when the story demands it. We also handle critical logistics like securing visas within 48 hours. It may sound appealing, but it’s essential, and that’s what gives us a real advantage.”
Building on that momentum, Film France expanded its reach by hosting “Inspiration Tours” for visiting producers and sending a delegation of French VFX and production experts to Los Angeles for an industry conference. This year, we also formalized a funding partnership with the American-French Film Festival and created a direct channel for dialogue between the two ecosystems by connecting CNC leadership with industry guilds in the United States.
“The goal goes far beyond promoting France as a filming location,” Roland added. “It’s about raising France’s global profile and building lasting creative and technological partnerships. We want this country to be seen not just as a service hub, but as a true collaborator, a place that can deliver blockbusters and festival winners (such as Jim Jarmusch’s Father Mother Sister Brother) in the same year.”
“We shouldn’t feel lucky if the next major series decides to film here,” he added. “It should feel inevitable.”
