Movies - Masters of the Universe: When Belgium Becomes a Haven for French Fans and the Growing Unease of the French Film Distribution Industry

By Mulder, 28 may 2026

“Well, we’ve wrapped on Masters of the Universe. It was an honor to take on the responsibility of playing Adam and He-Man. It’s the role of a lifetime, and I poured my heart and soul into it. I can’t show you much, but I’m very proud of the film we’ve made. Thanks to our incredible crew and all the actors for their hard work." - Nicholas Galitzine

The announcement surprised many fans of popular cinema and geek culture: while Masters of the Universe is shaping up to be one of the most anticipated nostalgic blockbusters of 2026, there will be no theatrical release in France. An almost surreal situation given the French public’s longstanding attachment to the Masters of the Universe franchise, popularized in the 1980s thanks to Mattel toys, the cult cartoon, and the film starring Dolph Lundgren—which has, over time, become a true object of generational fascination. Yet, while French audiences watch release schedules with concern, our Belgian neighbors seem to be already preparing to welcome the film to their theaters. The result: for many fans living in the Île-de-France region, Belgium could become the true home for *Masters of the Universe* on the big screen.

This phenomenon may seem trivial from a distance, but it actually reveals a much deeper malaise in the way certain American films are now distributed—or not distributed—in France. For several years now, the French film landscape has been undergoing a major transformation. Between the dominance of the major studios, streaming strategies, distributors’ budget decisions, and the growing difficulty in getting certain so-called “popular niche” films off the ground, many projects sometimes disappear entirely from the French radar despite their obvious potential with audiences. The case of *Masters of the Universe* is particularly telling because this is not a small independent film. We are talking here about an ambitious production backed by an international cast, a globally recognized brand, and a marketing machine clearly targeting the nostalgic generation that grew up in the ’80s and ’90s, as well as a new audience of fantasy and spectacular action enthusiasts. Under normal circumstances, this type of project would naturally have found its place in French multiplexes, particularly thanks to the power of nostalgia, which today serves as an extremely strong commercial driver in Hollywood.

But the current lack of French distribution also highlights a reality that is sometimes hard to accept: France, despite being considered a major film nation, is gradually becoming a market where certain films outside the priority marketing radar can be sacrificed very quickly. Whereas Belgium often maintains a more pragmatic and flexible approach to international programming, the French market sometimes seems locked into a mindset of extreme concentration around a handful of ultra-priority blockbusters. For viewers in the Paris region, the consequence is clear: they may have to take the road or the train to see the film in good conditions. Brussels is already emerging as the most credible destination for fans seeking the full cinematic experience, particularly thanks to complexes like Kinepolis, which regularly offer original-language, IMAX, or Dolby screenings for major American releases. Just a 1 hour 20 minute ride from Paris via the Eurostar, the Belgian capital could become the go-to destination for French fans of He-Man and Skeletor.

Others are also considering Mons or other Belgian cities more accessible by car, creating a rather fascinating phenomenon in the process: French moviegoers willing to cross the border to see an American blockbuster that would once have enjoyed a straightforward national release. It is no longer simply a matter of convenience or theater preference; it is becoming almost an act of popular cinephilia. This situation also raises an important question for the future: how long will French audiences accept seeing certain films disappear from the traditional circuit while neighboring countries continue to release them normally? Because behind *Masters of the Universe*, there is also a broader frustration felt by some viewers: the sense that certain distributors are deciding for them what does or does not deserve a theatrical release.

The paradox is all the more striking given that French fans remain among the most active in Europe on social media, at conventions, in collecting merchandise, and in supporting major pop culture franchises. France remains a major market for geek and entertainment brands. Yet, for certain projects, this passion no longer seems enough to guarantee a release worthy of the name. If Belgium truly becomes the official Plan B for French fans of *Masters of the Universe*, it will go far beyond the scope of a single film. It will symbolize an era in which audiences no longer hesitate to bypass the limits imposed by national distribution strategies to continue living out their passion for cinema on the big screen. And in a way, seeing French fans cross the border to witness a He-Man adventure carries a certain poetic irony: that of a hero from Eternia bringing audiences together across borders while some markets seem to have forgotten what the collective magic of a movie theater experience still represents.

Synopsis:
A young man on Earth discovers a fabulous secret legacy as the prince of an alien planet. He must retrieve a magical sword and return home to protect his kingdom.

Masters of the Universe
Directed by Travis Knight
Written by Chris Butler
Based on Mattel’s Masters of the Universe
Produced by Todd Black, Jason Blumenthal, Steve Tisch, Robbie Brenner
Starring Nicholas Galitzine, Camila Mendes, Jared Leto, Alison Brie, Idris Elba, Morena Baccarin, Jóhannes Haukur Jóhannesson, Sasheer Zamata, James Purefoy, Charlotte Riley
Director of Photography: Fabian Wagner
Production Companies: Metro-Goldwyn-Mayer, Mattel Films, Escape Artists
Distributed by Amazon MGM Studios
Release Date: June 5, 2026 (United States)