Data from the Italian box office 2017 presented today at the ANEC in Rome by representatives of the film industry speak of a real defeat. In fact, total box office figures amounted to €584,843,610 for a total of 92,336,963 admissions, an 11.63% decrease in takings in comparison to 2016 and a 12.38% decrease in admissions, for a worse result we'd need go back to the 2014 season, when the box office took just €575,247,515 and 91,526,747 admissions were recorded.
The results are particularly negative for Italian productions, which took around 89 million euros less than in 2016 for a total of 13.3 million tickets sold. While 2016 was a year of outstanding results for Quo Vado
by Gennaro Nunziante (65.3 million) and Perfect Strangers
by Paolo Genovese (17.3 million), in 2017, for the first time ever, no national production exceeded 11 million euros in takings. The two films that achieved the best results, L'ora legale
and Mister Felicità
, only slightly exceeded 10 million euros (10.3 and 10.2 million euros respectively).
The two Italian titles are at the bottom of the 2017 top ten films. The box office champion for 2017 was Beauty and the Beast
(Walt Disney) with 3.2 million admissions and 20.5 million euros in takings, followed by three films distributed by Universal: Despicable Me 3
(2.8 million admissions and 18 million in collections); Fifty Shades Darker
(2.2 million admissions and €14.9 million in takings and Fast & Furious 8
(2 million admissions and 14.8 million in takings).
The Italian market share, including co-productions, stands at 17.64% (in 2016 it was 29.05%), while that of the United States rose from 55.65% in 2016 to 66.28% in 2017. The European production market share went from 12.24% in 2016 to 13.23% in 2017.
For the ANICA president Francesco Rutelli the public is more and more attracted by the new platforms that operate in the market, but many have also pointed the finger at the scourge of online piracy, which is constantly increasing, on the excessive number of Italian productions and on the concentration of outputs especially at the beginning and end of the year. The hope lies in the potential practical effects of the new Italian cinema law, whose implementing decrees are now all operational.