France has become an essential producer for international cinema due to virtuous strategies and the decline of certain foreign industries in recent years.
What do the five nominees for the 2026 Oscar for Best International Film – the winner “Valeur sentimentale” by Joachim Trier (Norway), “Sir” by Oliver Laxe (Spain), “The Voice of Hind Rajab” by Kaouther Ben Hania (Tunisia), “The Secret Agent” by Kleber Mendonça Filho (Brazil), and “Just an Accident” by Jafar Panahi (Iran) – have in common?
France, a co-producer of all these films and even a sponsor in the last case, submitted a request to the Academy on behalf of national bodies to support Panahi’s film, which was censored by the regime of the mullahs. This led to the French committee choosing Panahi’s film as the French candidate in place of potential French-speaking competitors.
The international auteur cinema has essentially become French, especially in terms of financing through several public funds supplied by the CNC, Arte, or certain regions. The country’s support for foreign cinema has evolved over the years, with the creation of the “Cinemas of the World” fund in 2012, which backs around sixty French co-productions in foreign languages annually.
By supporting struggling cinemas worldwide, the French ecosystem has raised questions about potentially overshadowing foreign cinema. However, the system seems to benefit everyone without costing taxpayers, creating jobs, and contributing more to the French economy than industries like automobiles or pharmaceuticals.
This ecosystem of public authorities, financiers, producers, and international sellers has made France a powerful force in international cinema production, according to producer Mani Mortazavi.
