In a bold move that signals a fresh power shift in Hollywood’s theatrical landscape, Lionsgate Executive David Spitz Joins Black Bear to Revolutionize Theatrical Film Distribution.
With awards season looming and a global hunger for prestige cinema, this strategic expansion couldn’t come at a more opportune time, watched closely by film execs from Los Angeles’ AFM to Berlinale to Hong Kong.
As Black Bear stakes its claim on the red carpets of Sundance, Cannes, and the Oscars, the appointment of Spitz — the former Lionsgate powerhouse who ushered in box office behemoths like La La Land, The Hunger Games, and John Wick — could reshape how prestige films are rolled out in the United States.
Billion Dollar Bet on Theatrical Film Distribution
David Spitz brings a formidable resume to Black Bear. During his 18-year tenure at Lionsgate, he spearheaded releases grossing over $10 billion in domestic box office revenue. The films he touched span Oscar winners (Crash, Precious), mega-franchises (Saw, Now You See Me), and culturally defining indie hits (The Blair Witch Project, Fahrenheit 9/11).
“David is one of the most respected and accomplished distribution executives in the theatrical business…”
Benjamin Kramer
President of Black Bear’s U.S. theatrical division
“…His deep relationships with exhibitors and proven instincts for release strategies make him an ideal addition to our growing team.”
Spitz’s reputation is more than financial. He’s known for connecting with underserved audiences — an often-overlooked facet of theatrical film distribution strategy. He helped bring Instructions Not Included to record-breaking Spanish-language box office heights, alongside hits like Let Me Explain and 19 Tyler Perry films.
Black Bear’s Global Vision Gets a U.S. Powerhouse
With a firm grip on international markets through Elevation Pictures in Canada and a thriving theatrical business in the UK and Ireland, Black Bear is now completing its North American triangle. By placing Spitz at the helm, they’re set to release up to 12 films a year in the U.S., blending filmmaker-driven prestige cinema with action and genre standouts.
“I’m thrilled to join Black Bear at this exciting moment, as they enter an ambitious new chapter,”
David Spitz
“I look forward to creating theatrical events that drive audiences to theaters and connect with viewers across the country.”
This signals a clear pivot toward a robust theatrical film distribution strategy, just as the theatrical market regains its footing post-pandemic and platforms like Netflix and Apple TV+ seek to capitalize on festival-driven prestige.
A-List Slate Sets Stage for Awards Season and Box Office Buzz
Spitz enters at a critical time. Black Bear’s upcoming film slate is filled with Oscar buzz and audience intrigue:
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Relay (David Mackenzie), starring Riz Ahmed and Lily James, hits theaters via Bleecker Street.
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Train Dreams (Clint Bentley), with Joel Edgerton and Felicity Jones, is coming to Netflix.
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In the Grey (Guy Ritchie), with Henry Cavill and Jake Gyllenhaal, will be distributed by Lionsgate.
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The Rivals of Amziah King, starring Matthew McConaughey and Kurt Russell, promises festival heat.
Also in post-production: a Jason Statham-led action film by Ric Roman Waugh, a new Gregg Araki title (I Want Your Sex) starring Olivia Wilde, and the star-packed comedy Spa Weekend with Leslie Mann and Anna Faris.
This ambitious output underscores Black Bear’s intention to dominate awards season chatter — from Telluride to Toronto — and court discerning audiences who crave quality storytelling and cinematic spectacle.
Future of Prestige Cinema
The appointment of David Spitz is more than a personnel update — it’s a strategic realignment of how quality films reach theaters. Black Bear is assembling a powerful, cross-continental theatrical ecosystem that blends sharp acquisition, marketing finesse, and high-end festival savvy.
The shift arrives amid growing conversation around windowing, premium VOD, and the evolving definition of theatrical success. By hiring Spitz, Black Bear signals confidence that the big screen remains essential for impact — especially for films aiming at Oscar gold and cultural legacy.
For audiences in Manhattan, DC, San Francisco, and beyond, this move may soon shape which films light up your favorite indie theater or multiplex next.
Eyes on the Red Carpet
With David Spitz leading Black Bear’s U.S. theatrical film distribution strategy, the stage is set for a new chapter in independent film power dynamics. As awards season intensifies, don’t be surprised if a Black Bear title starts picking up critical momentum. The message is clear — this isn’t just about distribution. It’s about redefining the cinematic event.
If you’re a filmmaker, investor, or cinephile watching the next wave of prestige cinema, Black Bear’s move is one to track closely.
