When the parties of the entire French political spectrum lined up to fight the
US position on GATT in 1993, French cinema’s future appeared threatened.
The audience had shrunk, theaters were closing, production had plummeted,
and most direly, French market share had dipped to 30 percent for the first
time in its history, as the US film share was at a postwar high of 58 percent.
Ten years later, all of those indicators had turned around dramatically. The
audience had returned to theaters, new theater construction and renovation
were booming, production topped 200 films, up from just over 100, and market
share had risen as high as 41 percent. Yet