By MCN Editor



Documentary meets Film Noir; Was Critical Hit at Sundance and Will Be at SXSW

Beverly Hills, CA (February 22, 2012) — It was announced today that The Indomina Group, the fast-growing producer and distributor of film, TV and trans-media content, has acquired North American Rights to The Imposter, from A&E IndieFilms. Bart Layton’s directorial debut premiered to great critical acclaim at the 2012 Sundance Film Festival and will be shown at the upcoming SXSW festival.  Indomina is planning a theatrical release in 2012.

The Imposter was produced by Dimitri Doganis and executive produced by John Battsek (The Tillman Story, One Day in September), Academy-Award-winner Simon Chinn (Project Nim, Man on Wire), A&E IndieFilms’ Bob DeBitetto (The Tillman Story, The September Issue) and Molly Thompson (Client 9: The Rise and Fall of Eliot Spitzer, Jesus Camp) and Katherine Butler (Tyrannosaur, Kill List) of Film4 and Tabitha Jackson (Cave of Forgotten Dreams) of Channel 4. 

Layton’s documentary is an A&E IndieFilms, Film4 and Channel 4 presentation of a RAW Production in association with Red Box Films and Passion Pictures.  A+E Networks retains the television rights to the film.

“Few documentaries are able to draw you in and keep you captivated in the way that The Imposter does,” stated Indomina Group Vice Chairman and CEO Jasbinder Singh Mann. “This is a unique and highly engaging story that unfolds superbly on the screen. We’re excited to have it on our release slate.”

Notes Layton, “It’s very exciting that Indomina has come on board The Imposter.  We have been particularly impressed by their passion for the film and their commitment to bringing our movie to North American audiences.”

“We are thrilled to partner with Indomina to bring The Imposter to theaters,” said Bob DeBitetto, President and General Manager of A&E Network and BIO Channel. “The Imposter is documentary filmmaking at its best, combining a riveting true story with elements of film noir, and we look forward to sharing it with audiences.”
The Imposter is a chilling factual thriller that chronicles the story of a 13-year-old boy who disappears without a trace from San Antonio, Texas in 1994.  Three and a half years later he is found alive, thousands of miles away in a village in southern Spain with a story of kidnapping and torture. His family is overjoyed to bring him home. But all is not quite as it seems. The boy bears many of the same distinguishing marks he always had, but why does he now have a strange accent? Why does he look so different? Any why doesn’t the family seem to notice these glaring inconsistencies? It’s only when an investigator starts asking questions that this strange tale takes an even stranger turn.

The stranger than fiction mystery, which features many twists and turns, is told in a cinematic language that combines documentary and stylized visualizations.   Perception is challenged at every turn, and just as the truth begins to dawn on you, another truth merges leaving you even more on edge.

The deal was brokered by Josh Braun at Submarine Entertainment and CAA on behalf of the filmmakers.  Indomina’s Vice President of Acquisitions, Rob Williams, negotiated the deal for Indomina.

Recent acquisitions for The Indomina Group’s releasing division include Ice-T’s performance movie Something From Nothing: The Art of Rap, and Sheldon Candis’ LUV, starring Common that were both acquired this year at Sundance Film Festival.  Additional acquisitions include, A Fantastic Fear of Everything starring Simon Pegg and the thriller Life Without Principle – the newest film from internationally acclaimed director/producer and contemporary maestro of Hong Kongese action cinema Johnnie To. Upcoming productions include a new live action Afro Samurai with Samuel L. Jackson, Cabin Fever: Patient Zero and Cabin Fever: Outbreak.


The Indomina Group is a vertically integrated independent studio launched in 2008 by Vice Chairman and CEO Jasbinder Singh Mann.

Operating in Los Angeles and the Dominican Republic, Indomina takes a transmedia approach to collaborating with content creators around the world to bring innovative entertainment properties to the market.

The company’s global operations include the production and distribution of motion pictures, television, music, interactive games, and the ownership of world-class studio facilities and production services.

For more information please visit


A&E IndieFilms is the feature documentary production arm of A&E Network.  A&E IndieFilms is committed to developing the work of outstanding independent filmmakers and helping them reach the broadest possible audience.  A&E IndieFilms commissions, acquires and provides finishing funds for feature documentaries intended for co-branded theatrical release. Films include the 2006 and 2007 Academy Award nominees for Best Documentary Feature, Murderball and Jesus Camp; Nanette Burstein’s American Teen, which received the Directing Award at Sundance Film Festival; Amir Bar-Lev’s My Kid Could Paint That; R.J. Cutler’s The September Issue; Amir Bar-Lev’s 2011 PGA Award nominee The Tillman Story and Alex Gibney’s 2011 PGA Award and DGA Award nominee Client 9: The Rise and Fall of Eliot Spitzer.


Film4, headed by Tessa Ross, is Channel 4 Television’s feature film division. Film4 develops and co-finances films and is known for working with the most innovative talent in the UK, whether new or established. Film4 has developed and co-financed many of the most successful UK films of recent years, films like Danny Boyle’s Slumdog Millionaire and 127 Hours, Martin McDonagh’s In Bruges, Steve McQueen’s Hunger, Mike Leigh’s Another Year, Chris Morris’ Four Lions and Peter Mullan’s NEDS.

Recent releases include Richard Ayoade’s Submarine, Joe Cornish’s directorial debut Attack The Block, Ben Palmer’s The Inbetweeners Movie, Lone Scherfig’s One Day, Ben Wheatley’s Kill List, Paddy Considine’s debut feature Tyrannosaur, Miranda July’s The Future, Andrea Arnold’s Wuthering Heights, Terence Davies’ The Deep Blue Sea, Carol Morley’s Dreams of a Life, Phyllida Lloyd’s The Iron Lady andSteve McQueen’s Shame.

Future releases include Pawel Pawlikowski’s The Woman In The Fifth, Bart Layton’s The Imposter, Sophie Fiennes’ The Pervert’s Guide to Ideology, Walter Salles’ On The Road, Peter Strickland’s Berberian Sound Studio, Roger Michell’s Hyde Park on Hudson, Jonathan Glazer’s Under the Skin, Ben Wheatley’s Sightseers, Martin McDonagh’s Seven Psychopaths and Danny Boyle’s Trance.


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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon