Led by ‘Emily in Paris’ and ‘Irma Vep,’ Streaming Wars Send Paris Production Days Skyrocketing

variety.com:

Ben Croll Though local theatrical exhibitors have yet to find their pre-pandemic footing, the myriad technicians making up Paris’ 160,000-strong production workforce have never had so much to do.

Buoyed by the local industry and sent to the stratosphere by the demand of international streamers, audiovisual production has soared in Paris and its surrounding region.As film production has returned to its 2019 level, the rate of television work has more than doubled between 2020 and 2021, and the reasons for this boom come with little mystery. “The offer has exponentially increased due to circumstantial and structural reasons,” explains Remi Bergues, managing director of Film Paris Region. “First, due to increased demand because people are home more and thus watching more series, and second, because this competition from international streamers has pushed local broadcasters to increase their own scales.” Indeed, as Netflix series like “Emily in Paris” and “Lupin” have found global audiences (and multi-season renewals) on the streaming platform, local broadcasters have bolstered their own productions slates to meet audience demand. “Local broadcasters need to up production in order to remain viable, to maintain their economic model, and to not lose their audiences,” says Bergues. “[Which means that] French TV channels are now producing fewer one-offs and more short series to better meet the public’s new expectations.”In 2021, prestige series flourished in and around Paris, which hosted HBO’s Olivier Assayas-directed, Alicia Vikander-led “Irma Vep,” Canal Plus’ Xavier Giannoli-directed, Vincent Lindon-led “Tikkoun” and the lavish period epic “Marie Antoinette.” Other projects included Arte’s Jean-Xavier de Lestrade-directed.