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Roadside Attractions
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Roadside Attractions, LLC is an American independent film distributor and production company with a primary focus on acquisitions. Based in Los Angeles, California, the company was founded by Howard Cohen and Eric d'Arbeloff, who serve as the co-presidents.
Key Information
History
[edit]Roadside Attractions, LLC was established in late 2003 as a U.S. theatrical distribution company focused on acquisitions. It was founded by Howard Cohen, then with United Talent Agency, and independent film producer Eric d'Arbeloff. Prior to co-founding the company, Cohen had served as an acquisitions executive at Samuel Goldwyn Films from 1987 to 1994. d'Arbeloff had produced films such as Trick (1999) and Lovely & Amazing (2002) under the Roadside Attractions banner before becoming a formal distribution company.[1][2]
Shortly after its founding, Roadside entered into a co-distribution partnership with Samuel Goldwyn Films and Independent Distribution Partners (IDP), through which the companies jointly released a slate of films, sharing both costs and revenues equally.[3] The companies acquired their first film, a fast food documentary Super Size Me, at the 2004 Sundance Film Festival.[4] In May 2007, it was reported that Roadside had opted not to renew its partnership following the expiration of the contract at the end of 2006.[5] Later that year, Lionsgate Films acquired a 45% minority stake in Roadside.[6][7] Lionsgate also distributes Roadside's films in the U.S. home entertainment market and controls their pay 1 theatrical output deals.[8]
In 2016, Roadside partnered with Amazon Studios to release films theatrically. After releasing a half dozen of films together, the partnership ended in 2019 when Amazon shifted to distributing its films independently.[9] In August 2022, it was reported that Roadside entered into a multi-year streaming deal with Hulu for the post-theatrical pay 1 window. Call Jane and Gigi & Nate were the first films released under the deal.[8]
Filmography
[edit]Top 10 highest-grossing films
[edit]| Rank | Title | Year | U.S. Gross[10] |
|---|---|---|---|
| 1 | I Can Only Imagine | 2018 | $83,482,352 |
| 2 | Manchester by the Sea | 2016 | $47,695,371 |
| 3 | Mud | 2013 | $21,590,086 |
| 4 | Judy | 2019 | $24,319,961 |
| 5 | The Peanut Butter Falcon | 2019 | $20,457,158 |
| 6 | A Most Wanted Man | 2014 | $17,237,855 |
| 7 | Forever My Girl | 2018 | $16,376,066 |
| 8 | Hello, My Name Is Doris | 2016 | $14,444,999 |
| 9 | Love & Friendship | 2016 | $14,016,568 |
| 10 | Love and Mercy | 2015 | $12,551,031 |
References
[edit]- ^ Harris, Dana (October 29, 2003). "UTA's Cohen heads Roadside". Variety. Retrieved July 27, 2025.
- ^ McClintock, Pamela (September 17, 2010). "Roadside: The little engine that could". Variety. Retrieved July 24, 2025.
- ^ Dunkley, Cathy (December 26, 2004). "Roadside carves canny distrib niche". Variety. Retrieved July 27, 2025.
- ^ Rooney, David (September 8, 2004). "Samuel Goldwyn / Roadside Attractions". Variety. Retrieved July 24, 2025.
- ^ Goldstein, Gregg (May 10, 2007). "Roadside, Goldwyn split up". The Hollywood Reporter. Retrieved July 27, 2025.
- ^ Goldstein, Gregg (July 27, 2007). "Lionsgate widens indie highway with Roadside". The Hollywood Reporter. Retrieved July 24, 2025.
- ^ McNary, Dave (September 15, 2012). "Roadside Attractions nabs Emperor". Variety. Retrieved July 31, 2025.
- ^ a b D'Alessandro, Anthony (August 25, 2022). "Roadside Attractions Inks Post-Theatrical Pay 1 Window With Hulu". Deadline Hollywood. Retrieved July 24, 2025.
- ^ Donnelly, Matt (October 23, 2019). "How Roadside Attractions Fights to Give Indies a Theatrical Path to Success". Variety. Retrieved August 3, 2025.
- ^ "Box Office Performance History for Roadside Attractions". The Numbers. Retrieved July 31, 2025.
External links
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Roadside Attractions
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History
Founding and early years (2003–2006)
Roadside Attractions was established in 2003 by Howard Cohen, a former talent agent at United Talent Agency, and Eric d'Arbeloff in Los Angeles, California, as an independent film acquisition and distribution company.[6][7][8] The venture aimed to identify and secure promising independent projects for theatrical release in the U.S. market, operating from an office on Sunset Boulevard without initial involvement in film production.[9][7] From its inception, Roadside Attractions concentrated on acquiring indie titles with strong festival buzz, prioritizing domestic theatrical distribution to build a niche in the specialty film sector. The company's breakthrough came early with its first major acquisition, the documentary Super Size Me (2004), directed by Morgan Spurlock, which it co-acquired with Samuel Goldwyn Films at the 2004 Sundance Film Festival for domestic theatrical and home video rights.[10][11] Released in May 2004, the film grossed over $22 million worldwide, marking a significant success for the nascent distributor and highlighting its ability to champion provocative nonfiction content.[12] To bolster its operational capabilities, Roadside Attractions quickly formed partnerships with established players like Samuel Goldwyn Films, creating the joint entity Independent Distribution Partners (IDP) to handle theatrical releases and marketing support.[13][14] This collaboration enabled the distribution of additional early titles, including the Italian family drama Remember Me, My Love (2003), the Israeli-German thriller Walk on Water (2004), and the philosophical documentary What the #$! Do We (K)now!?* (2004), all released under the IDP banner to target art-house audiences across the U.S.[15][16] These efforts solidified Roadside's reputation as a key player in indie film exhibition during its formative years.Growth and partnerships (2007–2015)
In 2007, Roadside Attractions concluded its three-year partnership with Samuel Goldwyn Films and IDP Distribution, which had handled theatrical releases since the company's founding.[17][18] This transition allowed Roadside to seek new strategic alliances, culminating in Lionsgate Films acquiring a 43% minority stake later that year.[4][19] The investment provided essential financial support and expanded Roadside's access to Lionsgate's robust marketing and home entertainment distribution infrastructure, enabling broader theatrical rollouts for independent films.[20][21] The Lionsgate partnership fueled significant expansion in Roadside's film slate, shifting from a modest output to a more ambitious schedule. Key releases exemplified this growth, including the horror remake Quarantine in 2008, which achieved a worldwide gross of $41 million despite its limited-release origins. In 2009, Precious: Based on the Novel 'Push' by Sapphire became a breakout success, earning the Academy Award for Best Supporting Actress for Mo'Nique and grossing $47.5 million domestically and over $63 million worldwide through Lionsgate's co-distribution. Subsequent titles like Winter's Bone (2010), which secured four Oscar nominations including Best Picture, and The Kids Are All Right (2010), nominated for four Academy Awards, highlighted Roadside's emphasis on critically acclaimed dramas. Roadside's annual releases grew from approximately five films in the mid-2000s to 10 or more by the early 2010s, with a deliberate focus on awards-season contenders to maximize visibility and prestige.[22] This scaling was supported by the Lionsgate backing, which facilitated higher-profile acquisitions at festivals like Sundance and Toronto. Internally, the company bolstered its leadership under co-presidents and founders Howard Cohen and Eric d'Arbeloff, who oversaw strategic hires in marketing and acquisitions to handle the expanded pipeline.[23] By 2015, these efforts had built a library of over 100 titles, generating more than $200 million in cumulative box office revenue and earning 13 Academy Award nominations.[24]Recent developments (2016–present)
In the streaming era, Roadside Attractions adapted by forming a strategic partnership with Amazon Studios from 2016 to 2019, co-distributing several independent films theatrically to capitalize on awards potential and wider reach. This collaboration included high-profile releases such as Manchester by the Sea (2016), which earned $47.7 million domestically, won Oscars for Best Original Screenplay and Best Actor (Casey Affleck), and received additional nominations for Best Picture, Best Director, and Best Supporting Actor. Other joint efforts encompassed Love & Friendship (2016), The Wall (2017), and The Big Sick (2017), helping Roadside navigate the shift toward hybrid distribution models amid rising digital platforms.[4][25][26] The COVID-19 pandemic disrupted traditional theatrical releases for Roadside Attractions in 2020–2021, prompting a pivot to hybrid strategies combining limited cinema runs with accelerated video-on-demand (VOD) availability to mitigate theater closures. For instance, the faith-based drama I Still Believe (2020) launched theatrically on March 13, 2020, but shifted to premium VOD just two weeks later on March 27, allowing audiences to access it amid widespread shutdowns. This approach reflected broader industry adaptations, with Roadside emphasizing quick digital transitions for titles like The Last Vermeer (2020) to sustain revenue during the crisis. To further align with streaming trends, Roadside Attractions secured a multi-year pay-one output deal with Hulu in August 2022, granting the platform exclusive U.S. subscription video-on-demand rights for post-theatrical windows on select films. This agreement covered upcoming releases such as Call Jane (2022), a drama about women's reproductive rights, and Gigi & Nate (2022), enhancing Roadside's backend monetization in the evolving pay-TV landscape.[27] From 2023 to 2025, Roadside Attractions expanded its acquisition slate amid industry consolidation, focusing on diverse genres including historical dramas, thrillers, comedies, and faith-based stories to bolster its portfolio. Key pickups included the historical thriller Firebrand (2024 release, starring Alicia Vikander and Jude Law), the crime thriller Bring Him to Me (2024, starring Barry Pepper), the comedy Accidental Texan (2024, starring Rudy Pankow and Thomas Haden Church), the Western The Unholy Trinity (2025, starring Pierce Brosnan and Samuel L. Jackson), the heist thriller Fuze (acquired in 2025 for 2026 release, directed by David Mackenzie and starring Aaron Taylor-Johnson), and the faith-based historical drama A Great Awakening (acquired in 2025 from Sight & Sound for 2026 release, focusing on Benjamin Franklin). Under Lionsgate's ongoing minority ownership—established during earlier growth phases—Roadside has maintained a strategic emphasis on faith-based films like A Great Awakening and thrillers such as Fuze and The Unholy Trinity, positioning itself resiliently in a consolidated market dominated by streaming giants.[28][29][30][31][32][33][4]Corporate structure
Ownership and affiliations
Roadside Attractions was founded in 2003 by Howard Cohen and Eric d'Arbeloff, who have retained majority control of the company since its inception.[34] In 2007, Lionsgate Films acquired a 43% minority stake in Roadside Attractions, marking a strategic partnership that provided financial backing without a full acquisition.[21][35] This arrangement has allowed Roadside to operate as an independent subsidiary, leveraging Lionsgate's shared resources for marketing and international sales while preserving its core autonomy in acquisitions and domestic distribution.[36] The Lionsgate partnership originated during a period of growth for Roadside, enabling expanded operations through collaborative distribution channels.[21] Beyond this primary affiliation, Roadside has pursued co-acquisitions with Saban Films, such as the 2025 thriller Fuze, to broaden its portfolio of independent films.[32] It has also engaged in occasional collaborations with Vertical Entertainment on titles including Firebrand (2023) and Emily the Criminal (2022), facilitating joint North American releases.[28][37] This evolution from a standalone indie distributor to a Lionsgate-backed entity has enhanced Roadside's access to premium video-on-demand platforms like STARZ, part of Lionsgate's integrated content ecosystem, without altering its independent decision-making structure.[38][39]Leadership and key personnel
Roadside Attractions was founded in 2003 by Howard Cohen and Eric d'Arbeloff, who have served as co-presidents since the company's inception, guiding its focus on independent film distribution and acquisitions.[1][40] As a specialty film distributor in partnership with Lionsgate Studios, Roadside Attractions maintains operational autonomy in selecting and releasing its independent slate, while benefiting from Lionsgate's broader infrastructure support.[41][42] Key personnel include Angel An, who serves as vice president of acquisitions, contributing to the company's strategy for identifying promising indie projects.[43] In 2021, the company underwent a restructure that saw the departure of longtime executives Dennis O'Connor, head of marketing, and David Pollick, senior vice president of publicity, as part of efforts to streamline operations amid industry shifts.[44]Business operations
Distribution strategy
Roadside Attractions primarily employs a theatrical-first distribution model for its independent films, focusing on limited wide releases typically spanning 500 to 1,000 screens to maximize impact without overextending resources.[4] This approach allows the company to cultivate critical acclaim and awards potential by premiering films at major festivals such as Sundance and TIFF, where buzz can drive organic expansion and audience interest post-premiere.[4] By prioritizing fiscal conservatism, Roadside Attractions selects projects with strong narrative appeal suited to U.S. audiences, often those with budgets in the $5–20 million range that demonstrate sleeper-hit viability through festival reception.[4] Marketing efforts are tailored to specific audience segments, utilizing bespoke campaigns that leverage festival momentum, viral social media moments, and targeted outreach to build populist engagement.[4] For instance, faith-based titles receive promotion through church networks and community events to reach dedicated viewers, while arthouse dramas emphasize critic endorsements and cultural relevance to attract discerning crowds.[33] These strategies avoid broad, high-cost advertising in favor of precise, data-informed tactics that predict audience affinity based on metrics like early review scores and demographic testing.[4] Following theatrical runs, films transition to post-theatrical windows adhering to industry standards of 30–45 days before entering video-on-demand (VOD) and home entertainment, handled in partnership with Lionsgate.[45] A 2022 multi-year output deal with Hulu established the platform as the exclusive pay-one streaming destination for qualifying releases after this window, enhancing ancillary revenue while preserving theatrical priority.[46] Prior to this agreement, select titles flowed to STARZ via Lionsgate's distribution arm, reflecting an evolution toward hybrid streaming integration without undermining cinema exclusivity.[47]Production and acquisition approach
Roadside Attractions primarily functions as an acquirer of completed independent films, focusing on purchasing North American distribution rights for projects showcased at major international film festivals such as Cannes, Toronto, and Sundance. This strategy enables the company to curate a slate of high-quality titles with established artistic merit and commercial potential, minimizing the financial risks inherent in greenlighting new productions from scratch. For example, the company acquired U.S. rights to the financial thriller Arbitrage at the 2012 Sundance Film Festival for $2.5 million, highlighting their emphasis on festival discoveries with strong critical buzz and star appeal.[48] Similarly, in 2024, they secured North American rights to The Last Showgirl following its premiere at the Toronto International Film Festival, demonstrating a consistent approach to festival-based sourcing.[49] While acquisitions form the core of their operations, Roadside Attractions engages in limited production and co-production activities, typically collaborating with parent company Lionsgate for financing on select projects that represent a smaller portion of their annual slate. These efforts allow for greater creative input on promising scripts or directors but remain secondary to their acquisition model. A notable instance is their acquisition of the 2016 comedy Hello, My Name Is Doris, which blended independent sensibilities with broader appeal and contributed to the company's reputation for nurturing unique voices.[50] Overall, such productions are selective, often tied to partnerships that leverage Lionsgate's resources for development and post-production support.[51] The company's genre focus emphasizes dramas and arthouse films, which constitute a significant share of their releases, alongside thrillers, faith-based stories, and comedies, with an eye toward Oscar contenders and films that counterprogram mainstream blockbusters. This mix ensures a balanced portfolio that appeals to diverse audiences while prioritizing narrative-driven content with emotional resonance or social relevance. Representative examples include the Oscar-winning drama Manchester by the Sea (2016), the thriller Emily the Criminal (2022), the faith-based title A Great Awakening (2025), and the uplifting comedy The Peanut Butter Falcon (2019), each acquired to capitalize on their potential for awards recognition and niche market success.[4][33][52] Roadside Attractions' acquisition process involves dedicated scout teams attending over a dozen major festivals and markets annually to evaluate submissions from established producers and sales agents, favoring films with clear audience identification and viable release paths. Deals are typically structured around minimum guarantees to secure rights, coupled with backend participation in profits to align incentives with long-term performance. This methodical approach, informed by market analysis and internal expertise, has enabled the company to release 10-12 theatrical features per year since its founding, building a catalog of over 200 films with cumulative box office exceeding $600 million.[22][36] Similarly, in November 2025, they acquired North American rights to David Mackenzie's thriller Fuze following its premiere at the Toronto International Film Festival, continuing their focus on festival acquisitions with strong potential.[32]Filmography
Highest-grossing films
Roadside Attractions has built a reputation for distributing independent films that achieve outsized box office success relative to their budgets, often through targeted marketing to niche audiences and leveraging critical acclaim or cultural relevance. The company's top earners reflect a diverse portfolio spanning dramas, biopics, and thrillers, with several titles surpassing $30 million worldwide. The following table lists the top 10 highest-grossing films distributed by Roadside Attractions, ranked by cumulative worldwide box office earnings as of November 2025.[53]| Rank | Title | Release Year | Worldwide Gross |
|---|---|---|---|
| 1 | I Can Only Imagine | 2018 | $85,783,567 |
| 2 | Manchester by the Sea | 2016 | $77,733,867 |
| 3 | Judy | 2019 | $45,495,000 |
| 4 | A Most Wanted Man | 2014 | $36,068,890 |
| 5 | Arbitrage | 2012 | $35,830,713 |
| 6 | Mud | 2013 | $31,556,959 |
| 7 | Pinocchio | 2019 | $30,360,375 |
| 8 | Biutiful | 2011 | $24,687,524 |
| 9 | Love & Friendship | 2016 | $23,934,375 |
| 10 | The Peanut Butter Falcon | 2019 | $23,191,551 |