France’s Oscar Submission Dilemma: Why ‘Nouvelle Vague’ and ‘It Was Just an Accident’ Would Both Be Unprecedented Choices

Every awards season brings national submission debates, but this year, France’s decision for its official entry in the international feature Oscar category has turned into a geopolitical and cinematic dilemma.

On one side is Richard Linklater’s “Nouvelle Vague,” a French-language homage to the cinematic movement that redefined global filmmaking, starring breakout Guillaume Marbeck and Zoey Deutch. On the other is “It Was Just an Accident,” Jafar Panahi’s quietly explosive French co-production — a film shot in exile and widely regarded as one of his boldest works yet.

France, which typically selects auteur-driven, culturally emblematic films, finds itself choosing between two unprecedented options: one from an American director (Linklater), the other from a revered Iranian filmmaker working under government restriction (Panahi). Further complicating matters, “Nouvelle Vague” is almost entirely in French, while “It Was Just an Accident” is in a mix of Farsi and Arabic. Both qualify under the Academy’s international feature guidelines.

If selected, “Nouvelle Vague” — which Netflix acquired out of Cannes — would mark the first time in history that France has selected a film by an American director. In fact, no American director has ever helmed a movie nominated in the international feature category from any country (Per Academy’s current rules, the country is the official nominee, not the film’s director). Coincidentally, Netflix was also behind the last time an American-born filmmaker represented a country for its official submission — Angelina Jolie, who directed “First They Killed My Father” (2017) for Cambodia (Jolie has citizenship in the country). The film was not shortlisted or nominated. A distinction of this type could spark backlash from national purists, or be welcomed as a bold shift for a cinematically rich country that hasn’t won the Oscar since “Indochine” in 1992.

Admittedly, it can look a bit strange to have an American helming another country’s submission. Imagine if Clint Eastwood’s best picture nominee “Letters from Iwo Jima” (2006) had represented Japan during its year? (It was not eligible due to being a U.S. production.)

Still, “Nouvelle Vague” has been warmly embraced by critics and cinephiles as a sharply crafted tribute to the French New Wave, invoking legends such as Jean-Luc Godard, François Truffaut and Agnès Varda.

The film, shot in black and white, reimagines the making of Godard’s debut “Breathless.” It recreates the 1959 Parisian setting, lighthearted tone and three-way chemistry between its leads and their director — portrayed by lookalikes for Jean Seberg, Jean-Paul Belmondo and Godard himself: Deutch, Aubry Dullin and Marbeck.

Although Linklater is no awards novice — with Oscar nominations for “Boyhood,” “Before Sunset” and “Before Midnight” — “Nouvelle Vague” is his first feature shot in a language he isn’t fluent in. The film is nearly entirely in French, with minimal English dialogue. If France selects it, and with the backing of Netflix, it could become one of its most competitive entries in decades (in a field expected to be just as competitive).

Also, Linklater has double the awards chances, with a second film playing at Telluride. Sony Pictures Classics’ “Blue Moon,” a light-hearted biopic of songwriter Lorenz Hart starring Ethan Hawke, which debuted at Berlin, is playing adjacent to “Nouvelle Vague” on Friday night. There, Hawke will be receiving the Silver Medaillion tribute for his decades of acting and filmmaking endeavors.

In contrast, Panahi — long considered one of the world’s most vital filmmakers — is on the ground with “It Was Just an Accident,” his first project since his 2022 imprisonment for criticizing the Iranian government.

Despite a 2010 ban on filmmaking, media appearances and travel, Panahi continued working in secret. The ban was later lifted, allowing him to attend Cannes for the premiere of “It Was Just an Accident” earlier this year, where it won the Palme d’Or. The film, starring Mariam Afshari, Ebrahim Azizi and Vahid Mobasser, centers on a group of former political prisoners confronting the guard who once tortured them. Panahi is also being honored with a tribute at Telluride on Sunday night, which will be followed by the screening.

A submission of Panahi’s film, which was acquired by Neon, would not only champion artistic resistance, but position France as an advocate for global free expression. Notably, in 2015, France submitted “Mustang,” a Turkish-language film by Deniz Gamze Ergüven — a rare moment where language and nationality blurred in favor of cinematic excellence.

One deciding factor may be Cannes recognition. While “It Was Just an Accident” won the top prize, “Nouvelle Vague” went home empty-handed. Although winning at Cannes is not a guarantee of Oscar attention, the road to a nomination — especially in international feature — can be tougher for films that leave the festival without a mention.

The last Cannes competition title to leave without a prize and still receive a best picture nod was Quentin Tarantino’s “Once Upon a Time in Hollywood” (2019).

The truth is, either film being the French selection would be unprecedented. France has never chosen a film that was not in its native language and not helmed by a non-native of the country and the selection committee also has never chosen a film from an American director.

Moreover, in the history of France’s Oscar submissions, dating back to 1948, the country has never passed over an award-winning Cannes competition film in favor of a non-awarded title. The closest precedent came in 2005, when Palme winner “L’Enfant” from the Dardennes brothers was submitted by Belgium (although it was in French), and France ended up selecting “Joyeux Noël.” Interestingly, “Noël” ultimately received an Oscar nomination — while “L’Enfant” did not.

That said, winning Cannes doesn’t always translate to Oscar gold. Just ask the Palme d’Or winners “Titane” (2021) and “Blue Is the Warmest Color” (2013), which were both likely too outré for Oscar recognition.

Beyond international feature, both films are eyeing broader Oscar prospects. “Nouvelle Vague” could emerge in supporting actress (Deutch’s energetic performance could be compared to Cate Blanchett’s Oscar-winning turn as Katharine Hepburn in “The Aviator”), as well as production design, cinematography and adapted screenplay.

“It Was Just an Accident” benefits from the recent Palme-to-best-picture-nomination momentum, seen with “Triangle of Sadness” (2022), “Anatomy of a Fall” (2023) and last year’s best picture winner, “Anora.” Neon is positioning the drama for a haul that could be similar to the Japanese drama “Drive My Car” (2021), which scored noms for best picture, director, original screenplay and international feature.

Neon’s slate is packed this upcoming season — with four other non-English language titles: Joachim Trier’s “Sentimental Value,” Kleber Mendonça Filho’s “The Secret Agent,” Oliver Laxe’s “Sirāt” and Park Chan-wook’s “No Other Choice.” That could present a strategic juggling challenge during awards season.

At the patron’s brunch held on Friday morning, both filmmakers and casts were in person, meeting the various festival attendees, many of which are Oscar voters.

Regardless, with both films showing strong festival performance and critical support, France’s final decision — which is expected in early September — will come down to politics, perception and precedent. In a year when the Academy is more international than ever, France’s choice could reverberate far beyond the Oscar shortlist.