Studiocanal’s Anna Marsh Unveils Its Classic Film Strategy

French production-distribution-sales powerhouse Studiocanal, which holds one of the largest film libraries in the world with some 9,000 titles, has completed its Jean-Pierre Melville collection with the acquisition of his 1950 classic “The Terrible Children” (“Les Enfants Terribles”). 

This latest high-profile addition joins the ranks of the studio’s Melville lineup, which includes “Army of Shadows,” “Le Cercle Rouge,” “Bob le Flambeur,” and “Le Doulos.” This acquisition solidifies Studiocanal’s position as a leading player in both the French and international film markets 

A subsidiary of the Canal+ Group, Studiocanal’s acquisition policy focuses not just on contemporary film rights, but on the preservation and restoration of cinematic treasures. By securing rights from other studios and investing in the preservation of older titles, the company not only controls distribution and remake rights but also breathes new life into some of cinema’s most revered works. 

Ahead of the International Classic Film Market at Lyon’s Lumière Festival where she is giving a keynote speech, Studiocanal CEO and deputy CEO of the Canal+ Grou, Anna Marsh, sat down with Variety to discuss her company’s efforts in preserving classic films, and its strategy to keep them relevant and accessible in an ever-evolving market. 

Over the past seven years, Studiocanal has invested €25million ($27.5 million) in the restoration of some 1,000 films – both full restorations and 4K conversions to meet platform requirements. 

“For sure, we look at each movie differently: some movies do need a lot of TLC [tender loving care] and the budgets are more important – they may be what we call prestige restorations – and some are simple conversion to 4K because platforms and television channels obviously require a certain format for today’s lineup.” 

Marsh emphasized that the company’s global mindset has been critical in ensuring these restored films reach the widest possible audience. Studiocanal’s recent expansion in the U.S., with the opening of a second office in New York, exemplifies this ambition. Marsh cited the growing success of re-releases in North America, where audiences have responded enthusiastically to restored classics. 

“It’s great to re-release these movies throughout our territories here in Europe, but quite interesting to see how these movies are working in the U.S. market,” she said, highlighting Studiocanal’s partnership with Rialto Pictures, a U.S. distributor specialized in the re-release and restoration of classic foreign and independent titles. 

“For example, Jean-Luc Godard’s French New Wave drama ‘Le Mépris’ (‘Contempt) was re-released for its 60th birthday in June 2023, and it grossed $250,000 at the U.S. box office. ‘La Piscine’ (‘The Swimming Pool’) made $210 000 when it was re-released in 2021. For smaller films to hit $200,000 to $300,000 in today’s challenging U.S. market is a real achievement.” 

In a bid to further enhance the value of its classic film library, Studiocanal is delving into new territory with a line of documentaries exploring cinema history. The first in this series, “Becoming Hitchcock,” focuses on the legendary director and his early work, notably the 1929 film “Blackmail,” which helped herald the iconic “Hitchcock touch.” 

“The team have come up with this idea to really lean into the catalog quite holistically, and not just focus on one film and one bonus per film, but to think about themes: obviously major directors, maybe actors, producers, drawing from the richness of the catalog, and to try and make docs that are accessible and teach us about the beauty of cinema-making. That’s what Laurent Bouzereau does very well with ‘Becoming Hitchcock,’” said Marsh.

The doc is having its premiere at the Lumière Film Festival this week. 

Studiocanal’s extensive library of 9,000 films is not only a treasure trove for preservation but also a source of inspiration for modern remakes. Among the latest projects is “Huntington,” a remake of the 1949 British crime comedy “Kind Hearts and Coronets,” produced by A24. Directed by John Patton Ford, the film stars Glen Powell (“Top Gun: Maverick”) and Margaret Qualley (“Once Upon A Time in Hollywood”). 

“For us, having this extensive library is obviously a source of great ideas and stories,” Marsh said. “So, it’s just a wonderful opportunity to be able to take some of that IP and rethink it for today’s audience.” 

To ensure classic films remain relevant in an era dominated by streaming platforms and tentpole blockbusters, Studiocanal partners with cinematheques and festivals such as Lumière. According to Marsh, these institutions play a crucial role in keeping the films “on the map” with theatrical screenings and ensuring that they are celebrated by both older and newer generations. 

Additionally, the company taps into modern cultural trends, using merchandising and licensing deals to extend the reach of titles. Recent collaborations include partnerships with gaming platforms like Fortnite and the “Call of Duty” franchise, leveraging the enduring appeal of the Studiocanal-owned “Terminator” franchise to reach younger audiences. 

During the Lumière Festival, Marsh will receive the Fabienne Vonier Prize, which is awarded annually to a woman in the film industry. Named after the late Fabienne Vonier, co-founder of Pyramide, a pioneering independent production and distribution company in France, the prize honors women who have made significant contributions to cinema. 

The MIFC runs alongside the Lumière Film Festival until Oct. 18.