{"id":3392,"date":"2026-07-01T20:13:43","date_gmt":"2026-07-01T20:13:43","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=3392"},"modified":"2026-07-01T20:13:43","modified_gmt":"2026-07-01T20:13:43","slug":"how-pathes-de-gaulle-fought-its-way-back-at-the-french-box-office-with-a-push-from-youtuber-inoxtag-that-lured-younger-crowds","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=3392","title":{"rendered":"How Path\u00e9\u2019s \u2018De Gaulle\u2019 Fought Its Way Back at the French Box Office With a Push from YouTuber Inoxtag That Lured Younger Crowds"},"content":{"rendered":"
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\nAntonin Baudry\u2019s \u201cDe Gaulle: R\u00e9sistance,\u201d Path\u00e9\u2019s ambitious two-part historical epic about the making of Charles de Gaulle as a resistance leader, has fought its way back into a leading position at the French box office after an underwhelming start.<\/p>\n

Read more Fox Promotes Tubi PR Executive Seana Sullivan to Corporate Communications<\/a><\/p>\n

\n\tDriven by strong word-of-mouth, younger viewers and a heatwave that sent crowds back into air-conditioned theaters, the saga\u2019s first opus \u2014 described by Variety<\/em>\u2018s review as \u201creminiscent of a vintage Hollywood blockbuster\u201c \u2014 has now crossed 1.2 million admissions in France since its June 3 release, following a world premiere at the Cannes Film Festival.<\/p>\n

\n\tInstead of losing steam over time, \u201cDe Gaulle: Resistance\u201d saw ticket sales surge 17.2% during its third week, before skyrocketing by 68% last weekend, benefitting from La F\u00eate du Cin\u00e9ma \u2014 France\u2019s annual nationwide discount ticket event \u2014 as well as upbeat reactions from the public.<\/p>\n

\n\t\u201cWe really felt the positive buzz kick in during the third week,\u201d Safaee said, adding that the uptick is not only tied to the heatwave. \u201cWe were the film that grew by 17%, while others continued on a more normal trajectory,\u201d he said. That momentum has carried into the fourth week. On June 24, admissions were even up by 114%. For Path\u00e9, the late surge is especially important because it released the second installment, \u201cDe Gaulle: I Write Your Name,\u201d three weeks after the first, on June 26.<\/p>\n

\n\tThe films are based on Julian Jackson\u2019s book \u201cDe Gaulle: A Certain Idea of France\u201d and stars Simon Abkarian as General Charles de Gaulle, alongside Beno\u00eet Magimel as Pierre Koenig, Mathieu Kassovitz as Fran\u00e7ois Darlan, Niels Schneider as General Leclerc, Simon Russell Beale as Winston Churchill and Campbell Scott as Franklin D. Roosevelt, while Florian Lesieur and Anamaria Vartolomei (\u201cMickey 17\u201d) embody the young faces of the Resistance.<\/p>\n

\n\tPath\u00e9\u2019s most ambitious undertaking since \u201cThe Count of Monte Cristo\u201d and \u201cThe Three Musketeers\u201d \u2014 which also came out in two parts \u2014 \u201cDe Gaulle\u201d was budgeted in the \u20ac75-million range and marketed by Path\u00e9 like a proper blockbuster. But it had a slow start at the box office.<\/p>\n

\n\t\u201cWhen the film came out, despite a very strong promotional campaign \u2014 we were everywhere, with a lot of outdoor advertising, online marketing, and we really spent like we would on a blockbuster \u2014 the film didn\u2019t immediately attract audiences.\u201d The challenge, Safaee said, was that de Gaulle is a figure who can feel distant, institutional or politically loaded, which may have \u201cscared off\u201d some viewers. But the film shows a version of the general that is less familiar.<\/p>\n

\n\tWhile the core turnout for \u201cDe Gaulle\u201d was initially older and male, Path\u00e9 has been working to broaden its reach, especially among younger viewers. The company was able to connect with that demo by teaming with YouTube star Inoxtag, who hosted watch parties at Path\u00e9 cinemas with his community and took part in post-screening discussions with Baudry.<\/p>\n

\n\tIt was the first time in its 130-year history that Path\u00e9 enlisted an internet creator to help position the title as something that could speak to a new generation.<\/p>\n

\n\t\u201cSocial media is where conversations are happening and where young people get informed, especially about films,\u201d Safaee said. \u201cThey\u2019re very savvy, so content has to feel genuine. What we want is to show them the film, let them talk to each other, and create specific videos. When you try to sell them something too directly, they are immediately put off and leave.\u201d<\/p>\n

Read more Alamo Drafthouse Launches Distribution Program to Screen Unreleased Film Festival Movies in Theaters<\/a><\/p>\n

\n\tThe company previously experienced the power of social media when French actor Pierre Niney promoted \u201cThe Count of Monte Cristo\u201d to his followers and helped turn it into the second-biggest box office hit of 2024.<\/p>\n

\n\t\u201cWe\u2019re showing his Don Quixote side, a man-alone-against-everyone side, and I think that can speak to young people,\u201d said the exec, who added that the depiction of youth resistance has also resonated. \u201cWhat touches them in the first film is how much the youth, the high school students, went out and protested on their own. They probably project themselves into that today and ask what they would have done in their place,\u201d Safaee continued.<\/p>\n

\n\tAsked what Path\u00e9 has learned from the experience, Safaee said making two films back-to-back remains a daunting challenge, creatively and commercially. \u201cWe\u2019re very proud that these two films on De Gaulle exist, and we think the films are extremely well made and will remain in French cinema for a long time.\u201d But, he added, \u201cnot every subject and not every project lends itself to two films. It is complicated in writing, financing, production and release. Commercially, everything becomes more difficult.\u201d<\/p>\n

\n\tStill, Safaee said Path\u00e9 has no intention of stepping away from this type of big, theatrical French filmmaking. \u201cWe certainly won\u2019t stop making films of this scale, because we feel there is an audience desire,\u201d he said. \u201cIt\u2019s good for French cinema, it\u2019s good for theaters. We are not the only ones doing it \u2014 Studiocanal does it, SND does it, others will do it. I think everyone has understood that these films also give another vision of French cinema than what we have known in recent decades.\u201d<\/p>\n

\n\tOne major difference with \u201cThe Three Musketeers\u201d and \u201cThe Count of Monte Cristo,\u201d however, is that they are international IP, whereas \u201cDe Gaulle\u201d is not a globally recognizable literary brand \u2014 it\u2019s a French historical figure.<\/p>\n

\n\t\u201cThese films are more difficult to make when they don\u2019t have a very strong international dimension,\u201d Safaee said. \u201cSo the question now will always be: can this film travel? When we talk about films of that scale, they also need significant international value.\u201d<\/p>\n

\n\tSafaee said the two parts have been sold widely, including to China, with European releases set to begin at the end of August. The U.S. remains the key unsold territory, though he said he hopes a deal will close soon. Path\u00e9 is also offering buyers the possibility of airing the project as a six-part series for television or platforms. In France, it will stream on Disney+ after its theatrical run, and will then air on TF1.<\/p>\n

\n\tSpeaking of the particular difficulty in finding a North American distributor, Safaee argued that works \u201cshot in a foreign language and don\u2019t fall into the usual audience category for auteur or festival films\u201d are harder to position in the U.S. \u201cMarketing to a more mainstream, younger audience with non-English-language films, with a cast that is obviously not known in the U.S., is very complicated for American distributors,\u201d he observed.<\/p>\n

\n\tThe French company is currently orchestrating a big push into the English-language landscape. It recently partnered with Vend\u00f4me Pictures (\u201cCODA\u201d) to launch a new production and finance banner whose inaugural slate includes Morten Tyldum\u2019s \u201cIbelin,\u201d which stars Charlie Plummer and Stephen Graham, among others. It\u2019s also backing Yapluka, Dimitri Rassam\u2019s new investment vehicle whose projects include \u201cSlaying the Badger,\u201d with Tobias Lindholm (\u201cA War\u201d) attached to direct, and is expanding its U.S. presence around former FilmNation executive Ben Browning.<\/p>\n

<\/p>\n

Read more \u2018Siren Head,\u2019 Creepy Internet Sensation, Will Become Warner Bros. Movie With Brian Duffield Directing and \u2018Weapons\u2019 Filmmaker Zach Cregger Co-Writing<\/a><\/p>\n<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Path\u00e9 Films’ president discusses the release strategy for its two-part saga “De Gaulle” which made a box office comeback in its third week.<\/p>\n","protected":false},"author":1,"featured_media":628,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[2789,2790],"class_list":["post-3392","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-ardavan-safaee","tag-inoxtag"],"yoast_head":"\nHow Path\u00e9\u2019s \u2018De Gaulle\u2019 Fought Its Way Back at the French Box Office With a Push from YouTuber Inoxtag That Lured Younger Crowds - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=3392\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How Path\u00e9\u2019s \u2018De Gaulle\u2019 Fought Its Way Back at the French Box Office With a Push from YouTuber Inoxtag That Lured Younger Crowds - 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