Jessica Lacy joins Gersh as Partner and Head of Film Finance and Distribution, signaling a major shift for indie film financing ahead of Sundance.
A Sundance Shakeup That Has Producers Leaning In
Just ahead of Sundance, when the snow is fresh and deal whispers move faster than coffee refills, the indie film world got real news.
Jessica Lacy is heading to Gersh as Partner and Head of Film Finance and Distribution. For filmmakers who track power, taste, and timing, this move lands with flavor. Jessica Lacy joins Gersh film finance appointment signals something bigger than a job change. It hints at how smart money, global distribution, and prestige storytelling will meet in the next chapter of independent cinema.
If you have ever stood in a Park City line wondering who actually makes films happen, this is your answer.
Lacy is not loud.
She is lethal in the best way.
Producers from Los Angeles to London know her reputation. Financiers in New York, Paris, and Toronto respect her instincts. This is the kind of news that makes smart people pause mid espresso.
From Building Divisions to Shaping the Market
Jessica Lacy does not inherit systems. She builds them. At Range Media Partners, she led Range Select, the firm’s in house film finance and sales division, while also serving as a partner. Before that, she spent more than two decades at ICM Partners, where she built and led the International and Independent Film department as a partner.
That history matters.
In film finance, credibility is currency. Lacy has structured, financed, packaged, and distributed films that premiered at Sundance, Cannes, Berlin, Toronto, SXSW, and Tribeca. These are not just festivals. They are marketplaces where taste, timing, and trust decide a film’s life.
Her recent track record reads like a greatest hits playlist with extra spice. Anna Kendrick’s directorial debut Woman of the Hour sold to Netflix for $10 million. The Alan Ritchson thriller Motor City sold to IFC’s RLJE. Sundance 2025 selection By Design. Raoul Peck’s Cannes award winning Ernest Cole: Lost & Found. That is range with seasoning. Fun loving, but precise.
Why the Gersh Platform Changes the Equation
Gersh has been expanding aggressively, now operating in 17 countries with new departments in digital, voice, sports, and branding. Lacy’s arrival adds muscle where it counts most for filmmakers who want both creative respect and global reach.
“Jessica is one of the top executives in the independent film world,
with a track record of pairing bold creative voices with smart, global distribution,”
Leslie Siebert
president of Gersh
“Her expertise, relationships and instinct for the marketplace will be an enormous asset to our clients and strengthen Gersh’s leadership in the independent film space.”
Translation, without the press polish. Gersh wants to own the room when serious films meet serious buyers. The Jessica Lacy leads Gersh film finance strategy is about confidence and clarity. No mystery math. No empty hype. Just deals that close.
Sundance is not exactly known for subtlety. Dropping this news now is like ordering dessert before the main course. Bold. Fun loving. Slightly mischievous.
The Films and Filmmakers That Define Her Taste
Lacy’s resume includes brokering the $25M record breaking acquisition of CODA, which became the highest priced Sundance sale in history and went on to win the Oscar for Best Picture. That alone would secure legend status. But she also handled Drive My Car, Cha Cha Real Smooth, One Night in Miami, and I Am Not Your Negro.
Additional projects on her slate include Raoul Peck’s Orwell: 2+2=5, HBO Max’s Billy Joel: And So It Goes, She Rides Shotgun starring Taron Egerton, Guy Nattiv’s Tatami and Harmonia, and Casey Affleck’s Company.
She brings clients like Raoul Peck, Susan Lacy, and Cold Iron Pictures founder Miranda Bailey. She has worked with filmmakers ranging from Spike Lee to Sofia Coppola to the Duplass brothers. That is not networking. That is trust built over decades.
For producers, this is deeply relatable. You want someone who understands the art, respects the budget, and still knows how to have fun at Cannes without losing the plot. Lacy fits that brief.
Range and Gersh Still Sharing the Table
This is not a scorched earth exit. Gersh and Range will co represent several upcoming titles, including the Sundance premiere Frank & Louis and Family Movie starring Kevin Bacon and Kyra Sedgwick.
Jack Whigham, founding partner of Range, said:
“On behalf of Range, we wish Jessica Lacy all the best in her next steps at Gersh…”
Jack Whigham
founding partner of Range
“She has been a wonderful partner to us over the past few years, helping set up Range Select which will continue to operate in her absence. We look forward to continuing to partner with her in this new role, starting with our co repped title at Sundance and beyond.”
In other words, the room stays warm. The relationships stay intact. The fun loving energy continues.
Mini FAQ: Jessica Lacy
Q: What does Jessica Lacy’s move mean for indie filmmakers?
A: More access to smart financing and global distribution under one roof, especially for festival driven films.
Q: Will Gersh focus more on international markets now?
A: Yes. Lacy’s background across Cannes, Berlin, and Toronto suggests a stronger global strategy.
Q: Does this affect Range Select projects?
A: No. Range Select continues operating, with co representation on select titles.
Offering filmmakers a real advantage
The Jessica Lacy Gersh film finance move is not about headlines. It is about momentum. As film markets grow tougher and taste driven projects need sharper positioning, Lacy’s presence at Gersh offers filmmakers a real advantage.
If you are developing a film, raising money, or planning a festival launch, pay attention. This is one of those shifts that quietly shapes what gets made next. For more on how Sundance sales impact the industry, visit the Sundance Institute at https://www.sundance.org.
The takeaway is simple. When experience, instinct, and appetite for bold stories align, the industry listens. You probably should too.
