It is the French cultural exception. After the difficult years marked by the pandemic and its consequences, cinema is experiencing renewed interest throughout France. The Pau metropolitan area is not immune to this dynamic contrary to the world market.
“I thank Pathé Distribution, because with ”The Three Musketeers” and ”The Count of Monte Cristo”, we had the chance to benefit from French cinema which attracts en masse where the American market previously dominated », Appreciates Rémi Delassus, the director of the CGR Saint-Louis, in Pau, praising the performance of the film carried by Pierre Niney, which rose to the top of the cinema rankings.
At Méliès, the year was marked by the unexpected success of “Emilia Perez”, a daring French musical comedy tackling the complex theme of transidentity mixed with gang intrigue. International films, such as the Italian film There’s Still Tomorrow and the Iranian film “The Seeds of the Wild Fig Tree”, were also able to capture the public’s attention at the beginning and end of the year, despite a more difficult summer in terms of arthouse cinema proposals.
As for CGR Lescar, he capitalized on mainstream successes such as “Un Petit Truc en Plus”, released during the cinema festival, or “Cokarico”, “Vaina 2”, and “L’Amour Ouf”, seductive a family and intergenerational audience.
Strategies adapted to each audience
Pau cinemas stand out through complementary strategies aimed at expanding their audience. Le Méliès, for example, achieved a remarkable performance despite the absence of certain mainstream successes such as “A little thing in addition” or “L’Amour ouf” in the cinema. As for the film “The Count of Monte Cristo”, it was only broadcast in the fourth week, reducing its potential impact. “We still managed to increase our attendance and do well,” rejoices Philippe Coquillaud, the director of Méliès.
The latter aims to break clichés by deconstructing the image of arthouse cinema perceived as elitist and reserved for a restricted audience. By offering attractive prices and initiatives such as film clubs, it strives to make auteur cinema accessible and attractive to younger generations, an approach reinforced by a particularly captivating program this year.
“Nothing can replace the impact of a commentary or a synopsis to arouse the desire to see a film”
The CGR Saint-Louis, with a more hybrid positioning, has been mixing blockbusters and arthouse films for several years. Its varied offering, accompanied by monthly conference cycles and events targeting a younger audience, appeals to a more varied audience. The director also demonstrates an ambition to give a second life to certain arthouse works after their launch at the Méliès, as evidenced by the delayed broadcast of films such as “Les Graines du Figuier Sauvage” or “Emilia Perez”. This approach extends their visibility while contributing to the richness of the Pau cinema offering.
The cinema also intends to take advantage of its geographical location, particularly during busy periods in the city, such as the Christmas holidays. According to the director, “nothing can replace the impact of a commentary or a synopsis to arouse the desire to see a film”. City center events play a key role in attracting audiences, and the difference is evident in attendance.
Promising prospects for 2025
The other CGRs favor a broad audience by focusing on blockbusters. If the CGR Pau University waits until mid-January to draw up an initial assessment of 2024, its cousin in Lescar already sees things more clearly. The complex is banking on films aimed at young audiences to attract families whose scheduled outings have made it possible to maintain regular attendance throughout the year.
Its immersive events, such as photo sessions with mascots, saga marathons or meetings with actors (Dany Boon, Baptiste Lecaplain) help attract and retain the public.
These mainstream cinemas are expecting big releases in 2025 to continue to attract spectators, notably “Avatar 3” scheduled for December, the live adaptations of “Lilo and Stitch” and “Dragon”, or even popular franchises like “Les Tuche 5 » and “Mission Impossible”.
As for art house cinema, the film “The Room Next Door”, expected in early 2025, is already generating some excitement. The rest of the year remains uncertain, in a world that risks being marked by a strong comeback of American cinema.
