Film at Lincoln Center's Daniel Battsek on Cultivating a New Generation of French Cinema Lovers

Film at Lincoln Center's Daniel Battsek is actively working to engage a new generation of film enthusiasts with French cinema. Despite the ongoing challenges faced by independent and foreign-language films at the U.S. box office, there's a noticeable surge in interest among younger cinephiles. Initiatives like 'Rendez-Vous With French Cinema' play a crucial role in showcasing diverse contemporary French titles and connecting filmmakers with new viewers. This effort recognizes the evolving consumption habits of younger audiences, who often discover international content through streaming platforms and social media, and are now seeking enhanced communal theatrical experiences.

Since assuming his role at Film at Lincoln Center last May, seasoned production executive Daniel Battsek, known for his work on critically acclaimed movies such as “Poor Things” and “The Zone of Interest,” has concentrated on cultivating a fresh wave of movie enthusiasts. A key component of this strategy is 'Rendez-Vous With French Cinema,' an annual showcase organized in partnership with Unifrance. The recent iteration of this event, which commenced on March 5, featured a diverse array of contemporary French films, including François Ozon's “The Stranger,” Arnaud Desplechin's “Two Pianos,” and Olivier Assayas' “The Wizard of the Kremlin.” Beyond screenings, the festival also incorporated masterclasses with filmmakers at various university campuses, providing invaluable opportunities for French sales agents to connect with U.S. distributors and preview upcoming projects. Battsek expressed his enthusiasm for the wide spectrum of films presented, underscoring the richness and variety of French cinematic offerings, both from established talents and emerging young directors who explore France's cultural diversity.

Another significant aspect highlighted at the Unifrance showcase was France's substantial influence in global film festivals and during awards season. Dylan Leiner from Sony Pictures Classics, a company that recently handled the distribution of Rebecca Zlotowski's “A Private Life” and Laura Piani's “Jane Austin Wrecked My Life,” pointed out the considerable French financial backing present in numerous Oscar-contending international features. Leiner revealed that all five international films nominated that year had French investment, and approximately 30% of the 86 films submitted for the Oscar international feature race involved some form of French financing. He asserted that discussions about the French film industry inevitably involve a broader conversation about the global film industry itself. However, for distributors and exhibitors in the U.S., presenting foreign-language films in theaters often feels like a philanthropic endeavor, while French sales agents frequently lament the low acquisition prices.

Battsek acknowledged that the distribution and exhibition of independent films, regardless of language or origin, have always been challenging. The pandemic further intensified these difficulties, especially for arthouse cinemas that historically catered to an older demographic. He observed a slower return of traditional older arthouse audiences post-pandemic, yet paradoxically, a younger demographic has begun to emerge. Film at Lincoln Center has seen significantly improved results this year compared to the previous one, with a notable shift in the audience demographic at the New York Film Festival, where attendees are now substantially under 35 years old.

This evolving audience dynamic is partly attributable to how younger viewers initially engaged with international cinema. Battsek explained that these audiences watched a greater number of films through streaming services than they would have otherwise, and are now more inclined to seek out cinematic experiences. Social media platforms have also played a pivotal role in transforming movie-going into a shared cultural activity. Battsek noted a burgeoning enthusiasm for discussing films on social media platforms like Letterbox, which has created a cultural cachet around viewing diverse foreign-language movies. For exhibitors, this necessitates a re-evaluation of how theaters can distinguish themselves in an increasingly competitive entertainment landscape. Battsek believes the core issue isn't primarily the cost—as dining out in Manhattan can be more expensive than a movie ticket—but rather the overall quality of the cinematic experience. He advocates for elevating the theatrical environment, ensuring superior sound and visual quality, and enhancing audience comfort. Creating an event-like atmosphere around movie screenings is crucial, with festivals and curated programs like Rendez-Vous being central to this strategy. Battsek highlighted that younger audiences particularly value the opportunity to interact with French filmmakers who attend these events. He also emphasized that this demographic possesses a surprising level of sophistication, appreciating nuances like 4K restorations and 35-millimeter prints, demonstrating a desire for unique and special viewing experiences.

While French cinema has recently produced grand historical epics such as “De Gaulle,” “The Count of Monte Cristo,” and “Les Miserables,” Battsek suggests that American audiences are often more drawn to projects that offer distinct cultural insights rather than just large-scale productions. He believes that what resonates most with audiences in the U.S. is a window into cultures and countries they might not have otherwise experienced. Simultaneously, Battsek embraces the growing trend of international and French directors creating English-language films, citing Assayas's “The Wizard of the Kremlin,” featuring Jude Law and Paul Dano, as an example. He finds value in the blending of diverse aesthetics and experiences to produce richer and more compelling cinematic works.