SOUTH KOREA

Transcription

1 SOUTH KOREA (1) BY THE NUMBERS (A) MARKET STATISTICS AVERAGE Screens 2,003 1,974 2,081 2,184 2,281 2,105 Theatrical admissions (millions) Per capita attendance Box office (EUR millions) , , , Releases , Domestic releases US releases European releases German releases Domestic market share 46.5% 51.9% 58.8% 58.7% 50.1% 53.2% German market share 0.08% 0.51% 0.08% 0.24% 0.74% 0330% *EUR equivalents are calculated throughout at the exchange rate for December 31 of the year in question. 1 Market Study South Korea , Oct 2015, by Split Screen for German Films

2 Percentage of annual box office South Korea: Market Shares Domestic German South Korea: Theatrical Releases Average Total Domestic US European German 2 Market Study South Korea , Oct 2015, by Split Screen for German Films

3 (B) THEATRICAL RELEASES TITLE DISTRIBUTOR RELEASE DATE BOX OFFICE $US 2010 GERMAN FILMS (100% OR MAJORITY CO-PRODUCTIONS) THE LAST STATION (Ger/Rus/UK) Mediasoft Films ,110 GELIEBTE CLARA (Ger/Fr/Hun) AUD ,273 DIE TÜR (Ger) Company L ,558 DAS WEISSE BAND (Ger/Aut/It/Sp) Peterpan Pictures ,378 WÜSTENBLUME (Ger/Aut) Old Face ,668 NORDWAND (Ger/Aut/Swz) JMD Entertainment , GERMAN MINORITY CO-PRODUCTIONS RESIDENT EVIL: AFTERLIFE (UK/Ger/US) Sony Pictures Releasing Buena Vista Korea ,963,377 THE GHOST (Fr/Ger/UK) Sidus FNK ,094,322 HAPPILY N'EVER AFTER 2 (US/Ger) Showbox ,434 DISCO ORMENE (Den/Ger) AE Entertainment ,165 UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES (Thai/Ger/Fr/Sp/UK) BaekDu-DaeGan Films Co ,794 A MATTER OF SIZE (Isr/Ger/Fr) Valjean International ,256 IL Y A LONGTEMPS QUE JE T'AIME (Fr/Ger) With Cinema , GERMAN FILMS (100% OR MAJORITY CO-PRODUCTIONS) THE THREE MUSKETEERS (Ger/Fr/UK/US) Lotte Entertainment ,170,426 DIE FRISEUSE (Ger) Jinjin Pictures ,215 JASPER UND DAS LIMONADENKOMPLOTT (Ger/Fr) Lotte Entertainment ,264 SOUL KITCHEN (Ger/Fr/It) Sponge Entertainment ,863 TANZTRÄUME (Ger) Jinjin Pictures ,450 DREI (Ger) TCast ,223 VISION - AUS DEM LEBEN DER HILDEGARD VON BINGEN (Ger) PoongKyung SoRi ,182 3 Market Study South Korea , Oct 2015, by Split Screen for German Films

4 2011 GERMAN MINORITY CO-PRODUCTIONS UNKNOWN (US/Ger/UK/Fr) Warner Bros. Korea ,503,340 HANNA (US/UK/Ger) Sony Pictures Releasing Buena Vista Korea ,464,299 LOURDES (Aut/Ger/Fr) AUD ,687 LE HAVRE (Fin/Fr/Ger) Challan ,791 ANTICHRIST (Den/Ger) Mars Entertainment ,781 FAUBOURG 36 (Fr/Ger/Cz) Jinjin Pictures , GERMAN FILMS (100% OR MAJORITY CO-PRODUCTIONS) RESIDENT EVIL: RETRIBUTION (Ger/Can) Sony Pictures (South Korea) ,227,303 KONFERENZ DER TIERE (Ger) SBS ,605,278 A DANGEROUS METHOD (Ger/Can/UK/Swz) KT&G Sansangmadang , GERMAN MINORITY CO-PRODUCTIONS NIKO 2 LENTÄJÄVELJEKSET (Fin/Den/Ire/Ger) n/a ,399,902 THE VOW (US/Brz/Fr/Aus/UK/Ger) Sony Pictures (South Korea) ,625,045 TINKER TAILOR SOLDIER SPY (UK/Fr/Ger) Fine Pictures Co ,288 STREETDANCE 2 (UK/Ger/It) Pancinema , GERMAN FILMS (100% OR MAJORITY CO-PRODUCTIONS) CLOUD ATLAS (Ger/US) N.E.W ,023,466 RITTER ROST - EISENHART & VOLL VERBEULT (Ger) Apex Entertainment Co ,627 VINCENT WILL MEER (Ger) Sejong Communications ,727 BARBARA (Ger) Sponge Entertainment ,479 NANGA PARBAT (Ger) Mountain Pictures , GERMAN MINORITY CO-PRODUCTIONS THE MORTAL INSTRUMENTS: CITY OF BONES (US/Ger/Can) Lotte Entertainment ,676,161 HANSEL & GRETEL: WITCH HUNTERS (US/Ger) CJ Entertainment ,310,154 SONG FOR MARION (UK/Ger) n/a ,256,999 4 Market Study South Korea , Oct 2015, by Split Screen for German Films

5 RUSH (US/UK/Ger) Lotte Entertainment ,613 MEDIANERAS (Arg/Ger/Sp) Jinjin Pictures ,640 MR. NOBODY (Ger/Fr/Bel/Can) Bubble & Joy Pictures ,419 BAL (Tur/Ger) n/a ,363 PARADIES: LIEBE (Aut/Ger/Fr) n/a ,928 2 DAYS IN NEW YORK (Fr/Ger/Bel) AUD n/a POULET AUX PRUNES (Fr/Ger/Bel) TimeStory n/a 2014 GERMAN FILMS (100% OR MAJORITY CO-PRODUCTIONS) TARZAN 3D (Ger) Sidus Pictures ,158,722 LOVE, ROSIE (Ger/UK) Next Entertainment World ,885,103 DIE BIENE MAJA DER KINOFILM (Ger/Aus) Sejong Communications ,874,090 DER 7BTE ZWERG (Ger) Sane Company ,388 NIGHT TRAIN TO LISBON (Ger/Swz/Por) Musee Entertainment ,061 HECTOR AND THE SEARCH FOR HAPPINESS (Ger/Can) ThanksCo Company ,606 CLOUDS OF SILS MARIA (Ger/Fr/Swz) TCast ,037 DER TEUFELSGEIGER (Ger/Aut) Focus & Company ,271 FÜNF FREUNDE 3 (Ger) Company L ,347 FACK JU GÖHTE (Ger) Sejong Communications ,474 DER MONDMANN (Ger/Fr/Ire) Mountain Pictures ,758 DIE FRAU HINTER DER WAND (Ger) Company L KREUZWEG (Ger) Company L n/a 2014 GERMAN MINORITY CO-PRODUCTIONS POMPEII (Can/Ger) Daisy & Synergy ,576,287 ANONYMOUS (UK/Ger) n/a ,252,627 THE GRAND BUDAPEST HOTEL (US/Ger) Twentieth Century Fox (South Korea) ,596,261 LA BELLE ET LA BÊTE (Fr/Ger) UniKorea Culture ,315,779 THE MONUMENTS MEN (US/Ger) Twentieth Century Fox (South Korea) ,527 NYMPHOMANIAC: VOLUME 1 (Den/Ger/Fr/Swe/Bel) AtnineFilm ,190 ONLY LOVERS LEFT ALIVE (UK/Ger/Fr/Cyp) Challan ,527 A MOST WANTED MAN (UK/US/Ger) Dreamwest Pictures ,423 WADJDA (Saudi/Ger) Chris Lee Pictures ,825 5 Market Study South Korea , Oct 2015, by Split Screen for German Films

6 MAPS TO THE STARS (Can/US/Fr/Ger) Doki Entertainment ,542 THE CONGRESS (Isr/Ger/Pol/Fr/Bel) Cinema De Manon ,416 NYMPHOMANIAC: VOLUME 2 (Den/Ger/Fr/Swe/Bel) AtnineFilm ,233 LA RELIGIEUSE (Fr/Ger/Bel) Green Narae Media ,733 WAKOLDA (Arg/Sp/Ger/Fr) Company L THE LUNCHBOX (Ind/Fr/Ger) PeterPan Pictures LES SALAUDS (Fr/Ger) Challan n/a (C) TOP 10 GERMAN FILMS IN SOUTH KOREA ADMISSIONS BOX OFFICE (EUR) THE THREE MUSKETEERS (2011) 738,632 3,991,569 RESIDENT EVIL: RETRIBUTION (2012) 630,941 3,204,296 TARZAN 3D (2014) 602,713 3,435,104 CLOUD ATLAS (2013) 458,101 2,195,036 LOVE, ROSIE (2014) 273,203 1,557,095 DIE BIENE MAJA - DER KINOFILM (2014) 271,607 1,547,998 KONFERENZ DER TIERE (2012) 239,594 1,216,801 DER 7BTE ZWERG (2012) 127, ,200 NIGHT TRAIN TO LISBON (2014) 72, ,670 HECTOR AND THE SEARCH FOR HAPPINESS (2014) 49, ,645 Average admissions for a German film in South Korea, : 105,931 Average box office for a German film in South Korea, : EUR 571,225 6 Market Study South Korea , Oct 2015, by Split Screen for German Films

7 (2) DISTRIBUTORS OF GERMAN FILMS IN SOUTH KOREA (A) STUDIO AFFILIATE Sony Pictures (South Korea) 2012 RESIDENT EVIL: RETRIBUTION (B) INDEPENDENTS 4 TITLES Company L 2010 DIE TÜR 2014 DIE FRAU HINTER DER WAND; FÜNF FREUNDE; KREUZWEG 2 TITLES Jinjin Pictures 2011 DIE FRISEUSE; TANZTRÄUME Lotte Entertainment 2011 JASPER UND DAS LIMONADENKOMPLOTT 2011 THE THREE MUSKETEERS Mountain Pictures 2013 NANGA PARBAT 2014 DER MONDMANN Sejong Communications 2014 DIE BIENE MAJA - DER KINOFILM; FACK JU GÖHTE Sponge Entertainment 2011 SOUL KITCHEN 2013 BARBARA 7 Market Study South Korea , Oct 2015, by Split Screen for German Films

8 TCast 2011 DREI 2014 CLOUDS OF SILS MARIA OTHERS Apex Entertainment Co 2013 RITTER ROST - EISENHART UND VOLL VERBEULT AUD 2010 GELIEBTE CLARA Focus & Company 2014 DER TEUFELSGEIGER JMD Entertainment 2010 NORDWAND KT&G Sansangmadang 2012 A DANGEROUS METHOD Mediasoft Films 2010 THE LAST STATION Musee Entertainment 2014 NIGHT TRAIN TO LISBON N.E.W CLOUD ATLAS Next Entertainment World 2014 LOVE, ROSIE 8 Market Study South Korea , Oct 2015, by Split Screen for German Films

9 Old Face 2010 WÜSTENBLUME Peterpan Pictures 2010 DAS WEISSE BAND PoongKyung SoRi 2011 VISION - AUS DEM LEBEN DER HILDEGARD VON BINGEN Sane Company 2014 DER 7BTE ZWERG SBS 2012 KONFERENZ DER TIERE Sidus Pictures 2014 TARZAN 3D ThanksCo Company 2014 HECTOR AND THE SEARCH FOR HAPPINESS (3) DVD AND VOD IN SOUTH KOREA The Korean Film Council (KOFIC), generally restricts itself to the theatrical market, and statistical information on the home entertainment market does not appear to be available. The prevailing belief in the Korean industry is that the DVD business is on the way out, unable to compete with rampant piracy on the one hand and the fastest average broadband rates in the world on the other. In 2001, for instance, there were roughly 10,000 video rental and retail stores in Korea; by 2008, this had shrunk to 3,500 a decline of 65%. DVD revenue appears to have plummeted even more sharply: according to a May 2011 KOFIC report, turnover had shrunk from KRW 800 billion ( 540 million) in 2002 to KRW220 billion ( 149 million) in 2008 a decline of 72.5%. This is in inverse proportion to the growth of the theatrical market over the same period. The business is not entirely dead, however, and a comprehensive analysis of the titles available to Korean buyers on the pan-asia online shopping site yesasia.com suggests well-stocked shelves and a good range of European titles. The following chart includes non-korean and non-english-language movies only. The German titles are too numerous to list here, but cover the usual range, from 1920s classics to contemporary movies, and for once include such 9 Market Study South Korea , Oct 2015, by Split Screen for German Films

10 video stand-bys as Bavarian sex comedies (a box set is available). What sales traffic there is, we have no way of knowing. But availability of titles is, in any area of the film business, an essential starting point a foot in the door, in other words, albeit a very tentative one. South Korea: European DVD titles available to buy on yesasia.com France Spain Italy Germany Poland Sweden Denmark Portugal Netherlands VOD is even harder to quantify and we have been unable to find any site with accessible (i.e non-password-protected) content information in either Korean or English. However we are largely confident about the following: with Korea still the country with the highest average internet connection speed in the world (21 Mbt/s 40% faster than nearest rival Japan), the conditions are ideal for content to be delivered by internet, as is most of the country s TV and pay-tv programming; the VOD market is dominated by offshoots of two of Korea s most powerful corporations: KT (Olleh) TV, owned and operated by KT Corporation (formerly Korea Telecom); and Samsung u+tv, operated by the company that supplies most of the world s smart TVs; branded content seems to work, to judge by the decision of US majors Warner Bros., Sony and Disney to set up their own VOD platforms; 10 Market Study South Korea , Oct 2015, by Split Screen for German Films

11 on the basis of patterns found in other forms of home entertainment, content is likely to be 50% Korean, 45% Hollywood, with the rest of the world supplying the smallest slice of the VOD cake. For German films, the message seems to be that all-platform deals are the only option, in the hope that a Korean partner will see a way to squeeze some value out of the last link in the audiovisual chain. (4) SOUTH KOREA: COMMENTARY South Korea has pretty much taken over from Japan as the cinematic powerhouse of East Asia, with an energetic presence at the world s film markets and a new generation of filmmakers gaining renown on the international film festival circuit. While the theatrical market seemed to be struggling to cope with the instant-gratification challenge of the internet at the end of the 2000s, the theatrical business seems subsequently not only to have survived but to be prospering. Per capita annual attendance, which had dropped below three visits a year in 2010, has surged back to 4.3 one of the highest rates in the world (France s is 3.2, the US s 3.8) and other indicators are equally positive. Over the five-year period surveyed here, admissions soared in Korea by 44% and box office by 68% (although some of the latter may be explained by increased ticket prices and exchange-rate fluctuations). There is also, it should be noted, one statistic that defies interpretation: according to KOFIC, 1,117 films were released in 2014 almost four times the number for Since there are no other signs of this cinematic flood (which would amount to 22 new releases a week throughout the year), we must assume that the criteria have been extended to include non-theatrical releases or, more likely, direct-to-vod titles. Korean audiences remain fiercely loyal to local films, which were until comparatively recently protected by import quotas. Thus the audience for foreign films, including Hollywood blockbusters, averages out at around 100 million, with that for foreign films much lower. Acquisitions executives, however, continue to trawl the world s festivals and markets in search of product and, as the details of distributors of German films in 2 (b) above indicates, the number of boutique operations continues to escalate. An appetite for less commercial fare certainly seems to exist. The VOD market, meanwhile, is taking flight. The DVD era may be over, but the delivery of image-based home entertainment remains a vibrant part of the Korean economy. The balance, however, is inevitably shifting towards new technological platforms. Cable is especially well-established in Korea, so IPTV suppliers are struggling to be able to offer a competitive sign-up package. But the potential rewards are so huge and the pockets of platforms such as KT and Samsung so deep that this is more a speed bump than a barrier. 11 Market Study South Korea , Oct 2015, by Split Screen for German Films

12 (5) GERMAN FILMS IN SOUTH KOREA Despite the array of distributors involved or perhaps because there was no single distributor regularly championing them Korea has remained a relatively minor territory for German films, with the only ones to make regular impact being those that could pass for Hollywood (the usual suspects: THE THREE MUSKETEERS, RESIDENT EVIL and CLOUD ATLAS), plus children s movies such as TARZAN 3D, DIE BIENE MAJA and RITTER ROST. Arthouse titles such as DAS WEISSE BAND, SOUL KITCHEN and BARBARA, which generally achieved crossover status in other markets, sold less than 20,000 tickets between them in Korea with the latter, according to sales agent The Match Factory, effectively shown unauthorised and unpaid for by distributor Sponge Entertainment. The trend, however, seems to be upwards, with half the Top 10 Films released in There is insufficient data to draw any conclusions about VOD, but the DVD retailer analysed above keeps a good back-catalogue of German films alongside more recent releases. Theatrically, however, while the number of German stories and arthouse titles released make up the majority of openings with a particular surge in 2014, when double the usual number of films opened they accounted for just 7% of box-office returns to German films. Overall, in a market of 50 million people delivering an average of EUR 937 million at the box office, German films could manage at best (2014) a box-office share of 0.74%. The charts on the following page show numbers of releases and box office revenue for the key groups identified in the introduction to this Report. 12 Market Study South Korea , Oct 2015, by Split Screen for German Films

13 South Korea: Titles released by category Festival & arthouse English-language Children's films German stories South Korea: Categories by box office Festival & arthouse English-language Children's films German stories (6) SOUTH KOREA: SOURCES AND ACKNOWLEDGMENTS XE Currency Converter, HAN Cinema, KOFIC (Korean Film Council), KISA (Korea Internet & Security Agency), ITS (International Telecommunications Society), yesasia.com, Cinando, Unifrance, Box Office Mojo, European Audiovisual Observatory. 13 Market Study South Korea , Oct 2015, by Split Screen for German Films