Gilles Pélisson, a former French broadcasting executive, has joined UniFrance, a French film and television promotion organization in transition. Three years after taking over as president following a long tenure as CEO of leading commercial network TF1, Mr. Pellisson now oversees an organization reshaped by a structural merger with TV France International, enhanced funding sources and a rapidly changing market.
Partnering in a dynamic partnership with UniFrance Managing Director Daniela Elstner, Perrison set clear goals from the start. “The first priority was to strengthen the foundations of the association, especially its finances,” he said in an interview with Variety shortly before the start of UniFrance Rendez-Vous in Paris, noting the importance of ensuring that UniFrance has a largely public financial base. Support from the National Film Commission (CNC) has been “renewed and significantly increased by €2 million per year”, which he described as “very important”. At the same time, UniFrance has “strengthened its partnership with the European and Foreign Ministry”, enabling the launch of new initiatives such as “Tomorrow insight”, a new label celebrating young voices in French film and television.
Persson, who was president of Accor, Eurodisney and Bouygues Telecom before taking the helm of TF1, was also able to draw on “private sector support” to “complement public funds” in supporting UniFrance. That is why Mr. Pellisson was the driving force behind the creation of the UniFrance Endowment Fund in 2024. The results are already visible, he says, with “the participation of three major partners: Accor Group, BNP Paribas and Champagne Pommery”, giving the organization “a more stable and resilient financial footing”.
Mr. Pellisson also worked with Mr. Estorner to expand UniFrance’s reach at major international festivals, establishing Unifrance clubs “not only in Cannes, but also in Berlin and Venice.” These hubs are designed to bring together French delegations, talent and international press with the aim of creating “exceptional conditions that foster the exchange, visibility and strong collective presence of French cinema abroad”.
Three years after its merger with TV France International, Unifrance now operates “as a single team promoting both French films and audiovisual productions.” Perrison said the results speak for themselves: “Les Goutes de Dieu won an International Emmy Award,” while “HPI was a huge international success.” At the same time, he says, “these successes create a real sense of pride and confirm that this strategy makes sense.”
But Perrison also recognizes the volatility of box office revenue for independent films. Commenting on the results of the 2025 international BO, he said that French cinema admissions reached “approximately 42 million people”, a figure that was “encouraging given the current situation”, with standout titles such as the Oscar-winning Latvian animated film Flo, Luc Besson’s Dracula and TAT’s animated film Falcon Express. Ultimately, he believes that animation and international co-production are the two main trends that will increase the international presence of French cinema in festivals and theaters. In the US, where he sees the market as being “weakened” due to shorter theatrical release times, UniFrance is actively working on several key events, including a rendezvous with French films in New York, the UniFrance Trophy in Los Angeles, and masterclasses at American universities.
As UniFrance enters its next phase, Perrison is optimistic about the appeal of local filmmakers, producers and talent. “The richness of French cinema remains,” he says, pointing to “The Phantom of the Opera,” starring Deva Cassel and Romain Duris. A new version of “Les Misérables” directed by Fred Cabaye and starring Vincent Lindon and Tahar Rahim. and Antonin Baudry’s two-part story “De Gaulle” (Pathé). There is also a new film directed by Arthur Harari starring Léa Seydoux.
What do you think is your biggest accomplishment at UniFrance so far?
The first priority was to strengthen the foundations of the association, especially its funds, which remain largely open. The support from CNC has been renewed and significantly increased by 2 million euros per year. This is very important. We have also strengthened our partnership with the European and Foreign Affairs Ministry and launched new initiatives such as ‘Tomorrow insight’. Procirep also remains a very strong and committed partner.
UniFrance’s funding sources have also diversified. Why was that important?
We wanted to complement public funding with private sector support. That is why we established the Unifrance Endowment Fund in 2024. We are now seeing results with three key partners on board: Accor Group, BNP Paribas and Champagne Pommery. This will give the association a more stable and strong financial footing.
UniFrance is expanding its presence at major international festivals. What is the purpose?
We established Unifrance clubs not only in Cannes, but also in Berlin and Venice. These spaces will serve as a base for French delegations, talent and international press. Its aim is to create exceptional conditions that foster the exchange, visibility and strong collective presence of French cinema abroad.
How do you evaluate the success of the merger between Unifrance and TV France International?
The merger process started before I arrived, and three years later, we have entered a completely new phase. We currently work as a single team promoting both French films and audiovisual productions. “Les Gouttes de Dieu” won an International Emmy Award. HPI has also been a huge success, especially internationally. These successes create real pride and confirm that this strategy makes sense.
Will Rendez-Vous in Paris continue to be an important annual event?
absolutely. It’s the beginning of the International Year. We bring together around 500 buyers and around 80 French companies from all over the world. This is an iconic and highly effective showcase of French work.
With MyFrenchStories, you’ve also developed a more consumer-oriented strategy. why?
We wanted to speak directly to audiences, especially younger audiences and people who don’t always have access to movie theaters. Digital platforms provide powerful tools. “MyFrenchStories” features short-form content that explains films, including interviews and creative insights from composers and screenwriters.
It helps reconnect the audience to the theatrical experience from within.
Is supporting emerging talent still your core mission?
absolutely. The 10 to Watch initiative is a key pillar of our strategy. These talents are showcased in Paris and Cannes and then supported internationally throughout the year, from Tokyo to New York. This is a true visibility driver and a key part of Unifrance’s role.
How would you rate the international performance of French films today?
It takes a lot of humility. Foreign box office results do not automatically reflect domestic box office results. A film that does reasonably well in France may do very well abroad, and vice versa. For example, films like “Dracula” and “Jane Austen à Gaché Ma Vi” were not big hits in France, but were big hits worldwide. Enrollment in 2025 will be approximately 42 million, up slightly from last year. This is encouraging given the current situation.
Which films will stand out internationally in 2025?
In 2025, Flow clearly stood out as the best-performing French co-production film internationally. “Dracula,” with nearly 4 million admissions, will be the highest-grossing French film in 2025, followed by “Falcon Express,” with 2.3 million admissions.
What key trends are you seeing?
Two major trends stand out: animation and international co-production. French animation in particular is very strong due to the creativity of its writers and studios. France remains the world leader in this field. Films like “Arco” are typical of French animation, with strong storytelling and creativity. UniFrance has a strong relationship with the Annecy Animation Film Festival and will continue to do so in the future. There is also good momentum in terms of international co-productions.
You have said that works from the French minority play an important role in gaining international attention. Why?
When we talk about international performance, we should also look at films in which France is a minority co-producer. These films are part of our ecosystem and contribute to the overall strength of French cinema abroad. For example, this year’s titles include “I’m Still Here,” a Brazilian film with participation from French minorities, “A Secret Agent,” and “Sentimental Value.” Although these films are not necessarily perceived as “French” by the general public, they are very important to us, both in terms of artistic presence and international distribution. These demonstrate the importance of French involvement in international co-productions and that French influence extends far beyond strictly majority French cinema.
Streaming platforms remain a sensitive issue. why?
This is because there is no transparency. While we have very clear data on theatrical box office and terrestrial television, there is very limited visibility on the platforms, even though the film is being released in over 150 countries. This lack of data negatively impacts the film industry, the understanding of the film life cycle, and the proper evaluation of productions.
Has the US become a more difficult market?
Yes, definitely. When theater windows are shortened, movie screenings are weakened. Going to the movies in America has almost become an act of combat. However, theaters, including platforms, still play an important symbolic role in the creation of value and prestige, and this role has not disappeared. There are also distributors like Neon and Sony Classics who are resilient and believe in French films.
How does UniFrance operate in the US market?
through events. Rendez-vous with French cinema in New York, the UniFrance Trophy in Los Angeles, master classes at American universities… For one week, French cinema can make a real impact in a metropolis like New York. And, of course, we fully support France’s Oscar campaign, especially with Jafar Panahi’s It Was Just an Accident, which was shortlisted for Best International Film.
Are you optimistic about the next few years?
yes. The richness of French production remains intact, with many first features, upcoming major projects and a very strong presence at international festivals. France remains the second most chosen country after the United States. That’s a strong signal. We have many ambitious projects planned for this year. Films include The Phantom of the Opera, a new adaptation of Fred Cabaye’s historical drama Les Misérables, and a two-part tale about de Gaulle. There is also a new film directed by Arthur Harari starring Léa Seydoux. These are clearly projects with international reach.
