The Studio Behind Magazine Dreams Is Hollywood’s Home for Canceled Movies

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In January 2023, the intensely muscular and Taxi Driver-like bodybuilding drama titled Magazine Dreams showcased its strength at the Sundance Film Festival, much like a powerful back double-biceps pose. The story revolves around an outstanding performance by Jonathan Majors, who underwent a physical transformation to portray a bodybuilder character. This driven but mentally unstable character was played by Majors, who was a naive brute in the film. The independent movie received a standing ovation at Park City’s Eccles Theater and triggered a fierce bidding war among Sony Pictures Classics, Neon, and HBO. In the end, Searchlight Pictures secured domestic distribution rights for Magazine Dreams, reportedly paying $10 million for it.

Following its victory at Sundance’s U.S. Special Dramatic Jury Award, the movie appeared destined for accolades. Searchlight planned a December 2023 release during the peak Oscar season, with Majors — who was also gaining popularity as Kang the Conqueror in Marvel’s Ant-Man and the Wasp: Quantumania — as their primary awards contender, seemingly a lock for a Best Actor nomination. However, Majors was arrested on domestic violence charges in March of that year, including choking his girlfriend Grace Jabbari. This led to him being dropped by his management team, terminated by Marvel (from the Phase 5 Avengers franchise), and convicted of assault and harassment. A lawsuit for defamation followed, with Jabbari; the suit was eventually settled. In January 2024, Searchlight returned the rights of Magazine Dreams to its filmmakers, hinting that a Majors-led project may have been too controversial to release, particularly for Disney’s art-house division.

Interestingly, instead of heading towards the cinematic trash pile, the film “Magazine Dreams” took an unexpected turn. In October, the independent distributor Briarcliff Entertainment acquired the distribution rights to this movie for an unspecified amount. Now, the Los Angeles-based company that was founded in 2018 with the intent to release Michael Moore’s controversial documentary “Fahrenheit 11/9” and has since become known for distributing films classified as “distressed assets,” is granting “Magazine Dreams” a broad theatrical release on March 21.

Despite being relatively unknown in Hollywood circles, Briarcliff has recently gained recognition as a studio that takes on challenging, contentious projects that other studios avoid. This reputation was solidified when it acquired the controversial biopic of Donald Trump, “The Apprentice”, which received critical acclaim and nominations for both Sebastian Stan and Jeremy Strong, despite initial hesitation from other studios. In an industry that’s becoming more risk-averse and uncertain, Briarcliff is making a name for itself by taking on projects that others wouldn’t dare to touch. As the entertainment landscape becomes increasingly fragmented, Briarcliff is seen as a studio that champions difficult films, providing a platform for underrepresented voices and stories. According to Elijah Bynum, writer-director of “Magazine Dreams”, Briarcliff took on his film after distribution fell through, offering a chance to release a project that may have otherwise gone unseen. Bynum expresses gratitude for Briarcliff’s willingness to support diverse films and filmmakers, noting that they seem to enjoy taking on the role of underdogs, swimming against the current.

Briarcliff is the creation of Tom Ortenberg, a seasoned executive with a long history of navigating cultural conflicts, managing high-risk Hollywood projects, and turning a profit from contentious titles. As president of theatrical films at Lionsgate in 1999, he negotiated a deal to release Kevin Smith’s Dogma, a film that had been blocked by Disney due to its satirical portrayal of Christian beliefs. He even debated a high-ranking official from the Catholic League about the movie’s merits. Ortenberg was an early supporter of Michael Moore, releasing his documentary Fahrenheit 9/11 in 2004, a film investigating the George W. Bush presidency, the Iraq war, and corrupt wartime profiteering, which remains the highest-grossing documentary ever made. He also acquired the North American rights to the low-budget drama Crash at the Toronto International Film Festival for $3.3 million, turning this small investment into a box office success of $54 million and a sweep of major awards including Best Director and Best Original Screenplay at the Oscars. As co-founder and CEO of Open Road Films (a now-defunct production and distribution company backed by AMC and Regal Theatres), Ortenberg co-financed the production of Todd McCarthy’s $20 million journalism drama Spotlight, a film about a Boston Globe investigation into child sex abuse within the Catholic Church, and oversaw its release, eventually winning it an Academy Award for Best Picture in 2016.

From his office in Santa Monica, Ortenberg shared via Zoom that Briarcliff’s release strategy is not limited to sensational content. “I don’t shy away from conflict,” he declared, “I often find myself drawn to it. However, I don’t want my reputation to be solely associated with provocative films. I have a deep affection for all types of movies.

As a movie enthusiast, I’ve seen Briarcliff Entertainment take an eclectic approach to their filmmaking journey. They’ve dabbled in both highbrow and lowbrow productions, from action-packed Liam Neeson thrillers like “Honest Thief” (2020) and “Blacklight,” to documentaries advocating for gun control, such as “Gabby Giffords Won’t Back Down” and “The Dissident,” which sheds light on the assassination of Jamal Khashoggi. However, it was “The Apprentice” that initially put Briarcliff on the cultural map. This biographical drama, portraying the formative years of a future president, received a prolonged standing ovation at its Cannes Film Festival debut and caused audible gasps due to a scene depicting the protagonist, reminiscent of Trump, forcibly attacking his first wife, Ivana. The film also delved into Trump’s experiences with erectile dysfunction, drug use, and cosmetic surgeries, creating quite a stir on the Croisette. Unfortunately, it failed to secure a North American distributor due to objections from a Trump spokesman who deemed it “pure malicious defamation,” with the president’s attorneys issuing a cease-and-desist letter to the filmmakers, warning potential studio partners that they’d be “buying a lawsuit.

Ortenberg recognized a potential appeal. “While watching it,” he reminisces, “Supporters of Trump might find themselves liking it“. If you’re against Trump, the film only serves to strengthen that viewpoint. However, if you support Trump, watching The Apprentice makes you think, “Yes, that’s my guy“. This movie is not a biased left-wing attack; instead, it offers an intense, scorching, and at times humorous exploration of one of the most significant and undeniably iconic figures in contemporary American history. I believed it would resonate with audiences on both sides of the political spectrum to a similar extent. It deserved to be seen.

During the summer of 2024, the film’s producers managed to navigate a complex legal situation involving Kinematics, a production company financed by a billionaire Trump supporter, Dan Snyder. Just before the awards season began, with minimal domestic competition, Briarcliff stepped in like a rescuer out of the fog to acquire The Apprentice. “Following the threats made by Trump, there was a sense of apprehension throughout the industry; you can understand why these companies chose not to engage,” said Dan Bekerman, producer of The Apprentice, prior to the film’s release in the fall. “However, we are incredibly pleased with Tom Ortenberg from Briarcliff. His expertise is perfectly suited for this movie.” (Although The Apprentice has only grossed $4 million at the North American box office and Briarcliff hasn’t finalized a deal for its streaming-video on-demand rights yet, Ortenberg assures: “I can assure you confidently that we didn’t lose money on this deal.”)

2004 film titled “Crash“, directed by Haggis, delves into the volatile racial and societal fissures embedded in late 1990s Los Angeles, a city that lacks traditional heroes and villains. The movie intentionally steers clear of moral certainties. Ortenberg reflects on the film’s message: “The lesson I drew is that none of us are as virtuous as we seem at our best, and none of us are as wicked as we seem at our worst.” This brings up a question: Is Matt Dillon’s character a racist, misogynistic cop or a compassionate son trying to secure his father’s healthcare?

As a passionate film critic, I found myself grappling with the same line of thought when it came to the intriguing film, “Magazine Dreams.” Last summer, a connection tied to the production approached me regarding distribution rights. At a critical juncture in our industry, with numerous performers like Aziz Ansari, James Franco, Louis C.K., and Kevin Spacey facing allegations of misconduct and returning to work, I can’t help but empathize with the efforts of individuals seeking redemption, including Majors.

I pose a question that, perhaps, echoes the sentiments of many: “Is a past misdemeanor conviction an irreversible barrier to employment?” Ortenberg queries. The Los Angeles Media Fund, financiers for this movie, and the myriad individuals who worked tirelessly on its creation—do they have to discard their hard work? Should we erase the film from existence? I firmly stand against such a drastic measure. I say, let’s keep the reel rolling.

Over the last few months, I’ve had the pleasure of getting to know Jonathan and I’m happy to call him a friend. As for what transpired a couple of years back, it’s not something I feel comfortable discussing. However, let me share this with you: I’d prefer people remember me in my finest moments, yet I’m relieved that not everyone dwells on my less fortunate days.

Without a doubt, there’s an intriguing, overarching performance spectacle in store as a renowned Yale graduate, known for serious acting roles, takes on the transformation into a ruthless, bodybuilding enthusiast eager to emulate Mr. Universe, just about two years following Majors’ arrest for assault. In fact, the first scene of Magazine Dreams portrays his muscular character, Killian Maddox, undergoing court-ordered therapy due to his issues with impulse control and violent outbursts.

A few days prior to Rolling Stone publishing an article with a recording that appears to show Majors admitting to choking his girlfriend, I questioned Ortenberg about Briarcliff’s strategy for dealing with the problematic dialogue surrounding the actor – or if their aim is now to generate interest in Majors’ return to the big screen to draw audiences? “If people want to compare art to life, or consider the movie as a reflection of reality, fine. However, we are not paying attention to the controversy in the least,” says Ortenberg. “We’ve already moved past it. I believe that most American cinema-goers have also moved on.

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2025-03-20 19:56