Unifrance President Gilles Pélisson on Securing the French Org’s Financial Base, Growing French Cinema’s Theatrical Play and Nurturing Rising Talent

A former heavyweight of French broadcasting, Gilles Pélisson arrived at Unifrance at a moment of transition for France’s film and TV promotion body. Three years after taking over the presidency — following a long tenure as CEO of leading commercial network TF1 — Pélisson now oversees an organization reshaped by structural merger with TV France International, tightening funding sources and a rapidly changing marketplace.

Forming a dynamic duo with Unifrance’s managing director Daniela Elstner, Pélisson had set clear goals from the outset. “The first priority was to consolidate the association’s fundamentals, particularly its funding,” he says in an interview with Variety just before the start of the Unifrance Rendez-Vous in Paris, pointing to the importance of securing Unifrance’s largely public financial base. Support from National Film Board (CNC) was “renewed and significantly increased, by €2 million per year,” a development he describes as “extremely important.” At the same time, Unifrance “strengthened our partnership with the Ministry for Europe and Foreign Affairs,” enabling the launch of new initiatives such as ‘Tomorrow in sight,’ a new label celebrating young voices of French cinema and television.

Pélisson, who previously headed Accor, Eurodisney and Bouygues Telecom before taking the helm of TF1, has also been able to tap into “private-sector support” to “complement public funding” in backing Unifrance. As such, Pélisson was the driving force behind the creation of the Unifrance endowment fund in 2024. The results are already tangible, with “three major partners on board: Accor Group, BNP Paribas and Champagne Pommery,” giving the organization “a more stable and resilient financial foundation,” he says.

Pélisson has also worked hand-in-hand with Estlner to expand Unifrance’s footprint at major international festivals, developing Unifrance Clubs “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 encourage exchanges, visibility and a strong collective presence for French cinema abroad.”

Three years after the merger with TV France International, Unifrance is now operating “as a single team promoting both French cinema and audiovisual works.” The results, Pélisson notes, speak for themselves: “‘Les Gouttes de Dieu’ won at the International Emmy Awards,” while “‘HPI’ has also been a major international success.” Together, he says, “these successes create real pride and confirm that this strategy makes sense.”

But Pélisson is also conscious of the volatility of the box office for indie movies. Commenting on the international B.O. results in 2025, he says French films reached “around 42 million admissions,” a figure he calls “encouraging given the current context,” with standout titles including The Oscar-winning Latvian animated film “Flow,” Luc Besson’s “Dracula” and the TAT-produced animated fare “Falcon Express.” Ultimately, he sees animation and international co-productions as the two key trends bolstering the international presence of French cinema at festivals and in theaters. In the U.S. – a market he sees as “weakened” due to shorter theatrical windows — Unifrance is active with several key events such as the Rendez-Vous with French Cinema in New York, the Unifrance Trophy in Los Angeles and masterclasses in American universities.

As Unifrance enters its next phase, Pélisson is optimistic about appeal of local filmmakers, producers and talent. “The richness of French production remains intact,” he says, pointing to “The Phantom of the Opera” starring Deva Cassel and Romain Duris; a new adaptation of “Les Misérables” directed by Fred Cavayé and starring Vincent Lindon and Tahar Rahim; and Antonin Baudry’s two-part saga “De Gaulle” from Pathé. There is also a new film by Arthur Harrari starring Lea Seydoux.

What do you see as your biggest achievements at Unifrance so far?

The first priority was to consolidate the association’s fundamentals, particularly its funding, which remains largely public. Support from the CNC was renewed and significantly increased, by €2 million per year, which is extremely important. We also strengthened our partnership with the Ministry for Europe and Foreign Affairs, which enabled us to launch new initiatives such as ‘Tomorrow in sight.’ Procirep also continues to be a very strong and committed partner.

You have also diversified Unifrance’s sources of funding. Why was that important?

We wanted to complement public funding with private-sector support. That is why we created a Unifrance endowment fund in 2024. We are now seeing the results, with three major partners on board: Accor Group, BNP Paribas and Champagne Pommery. This gives the association a more stable and resilient financial foundation.

Unifrance has expanded its presence at major international festivals. What is the objective?

We have developed the Unifrance Clubs in Cannes, but also in Berlin and Venice. These spaces serve as hubs for French delegations, talent and the international press. The idea is to create exceptional conditions that encourage exchanges, visibility and a strong collective presence for French cinema abroad.

How do you assess the success of the merger between Unifrance and TV France International?

The merger process began before my arrival, and three years later we are fully into a new phase. We now operate as a single team promoting both French cinema and audiovisual works. “Les Gouttes de Dieu” won at the International Emmy Awards. “HPI” has also been a major international success, among others. These successes create real pride and confirm that this strategy makes sense.

Do the Rendez-Vous in Paris remain a key annual event?

Absolutely. They open the international year. We welcome around 500 buyers from all over the world and nearly 80 French companies, all under one roof. It is both a symbolic and highly effective showcase for French works.

You have also developed a more consumer-facing strategy with ‘MyFrenchStories.’ Why?

We wanted to speak directly to audiences, particularly younger viewers and those who do not always have access to cinemas. Digital platforms offer a powerful tool. ‘MyFrenchStories’ features short-form content — interviews, creative insights from composers and screenwriters — that explains cinema
from the inside and helps reconnect audiences with the theatrical experience.

Supporting emerging talent remains a core mission?

Absolutely. The 10 to Watch initiative is a major pillar of our strategy. These talents are showcased in Paris and Cannes, then supported internationally throughout the year, from Tokyo to New York. It is a genuine visibility accelerator and a key part of Unifrance’s role.

How do you rate the international performance of French cinema today?

It requires a great deal of humility. International box office results do not automatically mirror domestic performance. Some films that perform modestly in France can do extremely well abroad, and vice versa. For example, films like “Dracula” or “Jane Austin a gâché ma vie” did not perform strongly in France but became real hits internationally. In 2025, we are slightly up on last year, at around 42 million admissions, which is encouraging given the current context.

Which films stood out internationally in 2025?

In 2025, “Flow” clearly stood out as the French coproduction film that performed best internationally. With almost 4M admissions, “Dracula” is the best French film in terms of box office in 2025, followed by “Falcon Express” with 2.3 million admissions.

What major trends are you seeing?

Two key trends stand out: animation and international co-productions.  French animation, in particular, is exceptionally strong, driven by the creativity of its writers and studios. It remains an area in which France is a global leader. Films like “Arco” are archetypal of French animation: strong storytelling and creativity. Unifrance has a solid relationship with the Annecy Animation Film Festival which will continue even more in the future. We also see a good momentum around international co-productions.

You mentioned that minority French productions play an important role in the international figures. How so? 

When we talk about international performance, we also have to look at films where France is a minority co-producer. These films are part of our ecosystem and contribute to the overall strength of French cinema abroad. This year, for example, you have titles like “I’m Still Here”, which is a Brazilian movie with French minority participation, “A Secret Agent” and “Sentimental Value”. These films may not always be perceived as “French” by the general public, but they are very important for us, both in terms of artistic presence and international circulation. They show that French involvement in international co-productions is significant, and that our influence goes well beyond strictly majority French films.

Streaming platforms remain a sensitive issue. Why?

Because of the lack of transparency. We have very clear data for theatrical box office and linear television, but very limited visibility for platforms, even though films are being released in over 150 countries. This lack of data is damaging for the industry, for the understanding of a film’s life cycle, and for the proper valuation of works.

Have the United States become a more challenging market?

Yes, undeniably. Shortened theatrical windows weaken cinema exhibition. Going to the movies in the U.S. has almost become a militant act. That said, theaters still play a crucial symbolic role in creating value and prestige, including for platforms, and this role has not disappeared. There are also distributors like Neon and Sony Classics that are resilient and believe in French cinema. 

How does Unifrance operate in the U.S. market?

Through events. Rendez-Vous with French Cinema in New York, the Unifrance Trophy in Los Angeles, masterclasses in American universities… For one week, French cinema can truly resonate in a major city like New York. And of course, we are fully behind the Oscar Campaigns of our French productions, especially regarding the film “It Was Just an Accident” by Jafar Panahi – shortlisted for Best International Film.

Are you optimistic about the years ahead?

Yes. The richness of French production remains intact, with many first features, major upcoming projects and a very strong presence in international festivals. France remains the second most selected country after the United States. That is a powerful signal. There are also many ambitious projects coming up this year. We have films like “The Phantom of the Opera”, a new adaptation of “Les Misérables” a period film by Fred Cavayé, and the two-part saga on de Gaulle. There is also a new film by Arthur Harrari starring Lea Seydoux. These are projects with clear international reach.