Several filmmakers and buyers told AFP on the sidelines of the Toronto International Film Festival that a North American distribution deal requires patience and determination.
"Distributors have become timid, and so-so films just won't do anymore," a French seller said.
"Your film and your pitch have to be excellent," added Stine Oppegaard of the Norwegian film institute.
A niche American audience will always go see a film with subtitles at art house cinemas, but "beyond that, to reach the general public is a problem," commented Adeline Monzier, Unifrance's New York-based rep.
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"It seems small but we are the country that has done the best by far," she said.
"There is a certain American audience for art house films. Just look at the success of the Indian film 'The Lunchbox,' which earned USD 5 million at the box office, or Poland's 'Ida' - close to USD 4 million," explains Louis Balsan of the French firm Funny Balloons.
He says it should be an easy sell, because the two directors "have their fans" and Houellebecq "is the most published French writer abroad, no?"
Also in his bag is the French production "Pasolini," which premiered in Venice before being screened in Toronto. Making it a bit more saleable in Canada and the United States, it is directed by and stars Americans Abel Ferrara and Willem Dafoe, respectively.
Toronto is not only a great place to find distribution deals for finished works, attracting a massive media and industry grouping, but is also "a perfect place to launch international projects," said Gilles Sousa, Bac sales director.
Bac is also keen on a remake of Thomas Cailley's film "Les combattants", a story of young people that would resonate well with audiences in other countries, according to Sousa.