France Dares with Zvyagintsev's 'Minotaur' to Grab Oscars

**France Chooses Andrey Zvyagintsev’s “Minotaur” as Oscar Entry**

France announced on Tuesday that it will submit the French‑produced political thriller *Minotaur* to the 99th Academy Awards for the Best International Feature Film category.

The selection comes after a short‑list that included Antonin Baudry’s *De Gaulle: Tilting Iron*, Louis Clichy’s animated feature *Iron Boy*, Marine Atlan’s *La Gradiva*, and Arthur Harari’s *The Unknown*. The decision was made by a committee presided over by critic Charles Tesson, with sales agents and producers joining the panel.

*Minotaur* is the sixth feature from exiled Russian director Andrey Zvyagintsev. The film premiered at Cannes, where it captured the Grand Prix, and has since been screened at Telluride, Toronto, New York, and the BFI London Film Festival.

Its narrative centers on a company director in a provincial Russian city who confronts the fallout of his country’s 2022 invasion of Ukraine as workers are drafted and financial contributions to the war are demanded.

The plot follows Dmitriy Mazurov’s character, Gleb, whose seemingly perfect life begins to unravel not because of the war itself, but due to suspicions that his wife—played by Iris Lebedeva—might be having an affair. The film reflects the mood of Russian society in 2022, exploring how ordinary citizens grapple with state‑driven conflict.

Zvyagintsev co‑wrote the screenplay with Semen Liashenko and continues his collaborations with cinematographer Mikhail Krichman, sound designer Andrey Dergachev, and production designer Andrey Ponkratov.

Zvyagintsev’s previous work, *Loveless* (2017), earned the Jury Prize at Cannes and received an Oscar nomination. *Minotaur* marks the second consecutive year that France has selected a non‑French language film for the Best International Feature Film category, following last year’s choice of Jafar Panahi’s *It Was Just An Accident*.

The film is produced by Paris‑based CG Cinéma, mk2 Productions, Latvia’s Forma Pro Films, and Germany’s Razor Film.

In France, *Minotaur* will be distributed by Films du Losange with support from ARTE France Cinéma. International sales are handled by mk2. The film is slated for a U.S. theatrical release on November 20, 2026, through Mubi. , the selection committee remained confidential until the announcement.

The committee’s composition included sales agents Grégory Chambet of WTFilms and Nicolas Eschbach of Indie Sales; producers Nadim Cheikhrouha (*The Voice Of Hind Rajab*), Thierry de Clermont‑Tonnerre (*I’m Still Here*), Ron Dyens (*Flow*), Emilie Lesclaux (*The Secret Agent*), Sophie Mas (*Arco*), and Sylvie Pialat (*Timbuktu*).

Coralie Fargeat, director of The Substance, and Adeline Monzier, a New York‑based French cinema promotion expert, also joined the panel.

The film’s selection highlights France’s willingness to showcase works that tackle complex geopolitical issues through a non‑French perspective. It also underscores the continued international collaboration between European production companies and the broader film festival circuit.

By nominating *Minotaur*, France signals its support for artistic voices that confront contemporary conflicts, even when they originate outside its borders.

The Academy Awards will now decide whether *Minotaur* can translate its festival acclaim into a nomination. If chosen, it would join a growing roster of foreign‑language films that have achieved recognition at the Oscars.

The outcome will be watched closely by film critics and industry insiders alike as they assess France’s evolving strategy for international submissions.

**Background on the Selection Process**

France’s annual submission to the Oscars is a high‑profile event that often sparks debate among filmmakers, critics, and audiences. Historically, the country has balanced domestic pride with a desire to promote global cinema.

In recent years, Paris has leaned toward films that resonate on universal themes while still reflecting its cultural diplomacy goals. *Minotaur* fits neatly into this approach by presenting a starkly human story set against the backdrop of a political crisis that extends beyond national borders.

**Zvyagintsev’s Exile and Creative Continuity**

Since leaving Russia in 2022, Zvyagintsev has become a symbol of artistic resistance.

His films consistently interrogate moral ambiguity, and he has never shied away from political commentary. *Minotaur* extends his signature style—slow pacing, richly textured visuals, and an unflinching look at ordinary people caught in extraordinary circumstances.

The director’s collaboration with long‑time crew members ensures that the film’s aesthetic remains true to his established voice, even as he adapts to a new cultural environment.

**Festival Reception and Fan Reaction**

Upon its Cannes debut, *Minotaur* drew enthusiastic applause from both critics and cinema enthusiasts. The Grand Prix win was a triumph not only for the director but also for French‑produced film projects that manage to capture international acclaim.

Fans in France celebrated the film’s bold narrative as the country’s commitment to artistic freedom. In Russia, supporters of Zvyagintsev lauded the movie as an honest portrayal of everyday life under duress, while some critics questioned the portrayal of war‑time propaganda.

The polarized responses underscore the film’s potency as a cultural touchstone.

**Industry Impact**

*Minotaur* exemplifies the cross‑border partnership model that has become increasingly common in contemporary cinema. The collaboration between French, Latvian, and German production companies demonstrates how joint financing can pool resources and navigate different regulatory landscapes.

Additionally, the film’s success has prompted other European producers to explore similar projects that tackle contentious geopolitical topics while maintaining artistic integrity. For distributors, the film’s upcoming U.S. release through Mubi signals a growing appetite for streaming platforms to champion foreign‑language cinema.

**Future Prospects**

Beyond the Oscars, *Minotaur* is positioned to be a candidate for other prestigious awards such as the Golden Globes and BAFTAs. Its strong festival run has already earned it nominations at several international festivals, and the buzz surrounding its Oscar submission could boost its visibility among global audiences.

For Zvyagintsev, this could mark a turning point in his career, solidifying his reputation as a filmmaker who deftly navigates political realities without compromising on storytelling.

The Academy’s decision will ultimately determine whether *Minotaur* can continue its trajectory from festival darling to award‑winning contender.

Regardless of the outcome, France’s choice reaffirms its role as a patron of bold, globally relevant cinema and sets a precedent for future submissions that dare to confront the complexities of our times.