Amid rising geopolitical tensions and an increasingly volatile independent film business, UniFrance has gone ahead with its 31st Rendezvous with French Cinema in New York this week.
The event, one of the organization’s flagship efforts to promote French films in the United States, kicked off Thursday night with a sold-out screening at the Walter Reade Theater, which hosted the New York premiere of François Ozon’s adaptation of Albert Camus’ novel “The Stranger.” However, ozone was not on the ground. He recorded a short video to play to the audience, explaining that he canceled his trip because of the ongoing US-Israel war against Iran.
Daniela Elstner, managing director of UniFrance, said in an interview with New York’s Variety: “We knew this year would be special due to what’s happening in Iran, and although we were prepared for last-minute cancellations, we did not consider canceling this edition as we did in 2020 when the pandemic hit.”
Elsner said the organization sent an email to all participants “to ask if they would like to make this trip to the United States. Ultimately, it is a personal decision and one they have to make.” “Maybe there’s safety or ethical concerns or fear of not being able to get back on the plane for some reason,” she said, adding that only a handful of guests declined to participate, including Ozon and Pauline Roquez, whose film “Nino” had just won Best Picture at the Cesar Awards.
Despite the tense political backdrop, the French delegation assembled on the opening night. “Everyone showed up to the red carpet and the opening. It was heartwarming,” Elstner said. After the screening, a cocktail party was held with directors Arnaud Desplechin, Stéphane Demoustier and Fabienne Gaudet, producers Olivier Delbosque, Raphaël Delouche, Julie Billy, Nicolas Saintfort, Hélène Espace, Bertrand Fevre, Romain Lancler, UniFrance president Gilles Pélisson, and international film executives. Alexis Cassanet in Gaumont and Eva Diedericks in Goodfellas.
A French delegation participated in the Rendezvous with French Cinema held at Lincoln Center.
Thomas Bruneau / UniFrance
The week-long showcase, which concludes with Julia Ducournau’s Alpha, remains one of UniFrance’s most important platforms for raising the profile of French films in a North American market that stands out as a culturally influential market but is becoming increasingly difficult for foreign-language films. According to a report by UniFrance, French films received approximately 42 million theater admissions overseas in 2025, with only 2.2 million ticket sales in North America. Still, Elstner points to the attendance of Rendezvous screenings and masterclasses, as well as major U.S. distributors such as Michael Barker and Dylan Reiner of Sony Pictures Classics, Ryan Warner of Neon, and Ariana Bochco of Mubi, as evidence of American audiences’ continued love for French cinema.
“It’s heartening to see that Rendezvous’s partner Film at Lincoln Center attracts so many young and French film fans each year,” Elstner said. “Most of our screenings are sold out and even full. It’s incredible to see people book screenings back to back and talk about movies with such passion. They’re incredibly knowledgeable. There’s a vibrant subculture.”
With theatrical markets facing challenges in most countries, the executive, who received the Légion d’honneur at the French Embassy during the Berlin Film Festival, pointed to a resurgence of a wide variety of local films at the French box office, with “Marspilami,” a reboot of the comic book series, up 20% in the first two months of 2026. “Gourou” is a psychological thriller directed by Yann Gozlan and starring Pierre Ninny. L’Affaire Bojarski is a historical crime drama directed by Jean-Paul Salomé. and Christophe Baratier’s family adventure Children of the Resistance.
This year’s New York Rendezvous lineup of 22 films reflects the breadth of contemporary French filmmaking. In addition to “The Stranger” and “Nino,” other expected highlights include Olivier Assayas’ political drama “The Magicians of the Kremlin,” which will premiere in Venice. Jude Law plays the fictional Vladimir Putin opposite Paul Dano. César Award-nominated director Dominique Mol’s procedural “Case 137” is set during the yellow vest movement and stars Léa Drucker. “At Work” by Valerie Donzelli, winner of the Venice Prize. Arnaud Desplechin’s melodrama “Two Pianos”. and Stéphane Demoustier’s historical epic “The Great Arch.” New York premieres include Hafsia Helzi’s coming-of-age drama “Little Sister,” starring Cannes Film Festival Best Actress winner Nadia Meliti. “Enzo,” directed by Robin Campillo, is the last project of the late Laurent Cantet. Cédric Klapisch’s “Colors of Time” and “L’Affaire Boyarski”.
How did this year’s Rendezvous fare amidst the geopolitical turmoil engulfing the United States?
Daniela Elstner: We knew this was going to be a special year because of what was happening in Iran, so we were prepared for last-minute cancellations. But we didn’t think about discontinuing this edition like we did in 2020 when the pandemic hit.
We actually sent an email to everyone in our delegation asking if they still wanted to travel to the US, as ultimately it is a personal decision. There may be safety or ethical concerns, or fear of not being able to return home for any reason.
In the end, only a few defectors emerged, including François Ozon and Pauline Roques. It was a shame that François Ozon couldn’t be there to screen “The Stranger” last night, but he explained why he wasn’t coming in the video we showed. It was a mixture of safety concerns and political beliefs. I think the audience understood, and I felt a lot of kindness in the venue. A whole talented delegation showed up for the red carpet and opening. That was really heartwarming.
Based on discussions with distributors and sales agents, and looking at exports over the past year, are French films still popular in the US?
Elstner: It’s incredibly heartening to see how Rendezvous’ partner Film at Lincoln Center continues to attract so many young moviegoers each year. Most screenings are sold out and can be crowded. It’s amazing to see people booking screenings in quick succession and enthusiastically discussing the film. They are also incredibly knowledgeable. There’s a real subculture around French cinema. We also have strong connections with universities, film schools and cultural institutions. These screenings generate additional revenue for distributors, but also help develop future audiences. We have restarted the “Young French Cinema” festival held jointly with Villa Albertine and the Institute of French Culture and Education in New York. Its purpose is to introduce emerging French filmmakers to audiences across the United States and Canada, and to showcase films that have not yet secured distribution in the United States.
There appears to be a disconnect between local French hits and French films that do well in the US.
Elstner: Looking at the theatrical box office numbers, it’s encouraging to see films directed by women, such as Laura Piani’s “Jane Austen Wrecked My Life” and Rebecca Zlotowski’s “Private Life,” doing well in theaters alongside films like Luc Besson’s “Dracula” and the animated feature “Flow.”
That said, box office levels aren’t what they used to be. A movie that might have grossed $3 million a few years ago may now gross close to $1 million. But the trend exists everywhere. One of the structural problems in the United States is the lack of theaters outside of large cities like New York and Los Angeles.
The silver lining is that filmmakers like Quentin Tarantino, Richard Linklater, and Sean Baker are personally invested in saving movie theaters. It is so precious and gives us hope.
French distributors often say that U.S. contracts limit their profits, and that it can be more profitable to sell films to Eastern Europe. Is that a concern?
Elstner: Yes, that was always a challenge. U.S. deals can be difficult to close and are not necessarily the most lucrative. But at the same time, it’s very important for filmmakers to have their films released here. Some of the directors attending this year have never been to New York before. For them, seeing their films screened in this city is a source of great pride.
However, French historical epics like The Count of Monte Cristo, for example, don’t seem to resonate in the same way here.
Elsner: Yes, we have been seeing that situation for a long time, especially in comedies and large-scale French productions. Comedies are often culturally specific, and while they sometimes travel to neighboring European countries such as Germany, they are rarely exported to the United States, except in remakes. What’s interesting is that American audiences often want French movies that feel unique, that are different from what they’re already seeing in America. They want something quintessentially French, something exotic. As a result, large-scale French films that resemble Hollywood productions are sometimes ignored. Luc Besson is the only film director who has been able to continue to captivate American audiences.
The programmers at Film at Lincoln Center have done a great job of curating a lineup that will truly excite New York audiences. Sometimes I get asked why we don’t show more mainstream movies, but that’s not what the audience here wants.
A few years ago, there was widespread concern that streaming services would wipe out the independent market. How has perception evolved as streamers consolidate and change their strategies?
Elstner: It’s a completely different time now. Streaming platforms like Netflix are now fully integrated into the ecosystem. They premiere their films at festivals and their logos are featured on posters, but it’s no longer controversial.
However, it is not very active in terms of acquisitions. There was a time when distributors were worried that too many movies were being scooped up in global deals by streamers, but those days are largely over. I’ve even heard jokes about what Netflix will do with the $2.8 billion penalty they received from Paramount. Everyone secretly hopes they can pull out their checkbooks and start buying movies again.
