First Run/Icarus Films is one of the leading distributors of documentary film and video in the U.S. and Canada. It was formed in 1987, when Icarus Films (founded in 1978) and First Run Features (founded in 1979) merged their non-theatrical divisions to create a new company. First Run/Icarus Films does all of the non-theatrical distribution for all of First Run Features’ and Icarus Films’ titles.
Today, First Run/Icarus Films distributes approximately 900 titles, and releases about 50 new documentary films each year to all markets in North America. Its primary focus remains on the non-theatrical markets, but for all of the films that it acquires directly it distributes to all markets and territories for which it has the rights. FRIF distributes a very broad range of documentary films (as well as a few animated and short films). It has many films on international issues, U.S. social and political issues, history, sociology, anthropology, women’s studies, media studies, Jewish studies, and a growing collection of films in health and medical sciences.
The FRIF basic approach to releasing a title: Direct mail (100,000+ pieces per year of different specialized brochures). Telephone sales (two full-time people). Free previews. Email (postings to different lists every week). Web site (including weblog and current concerns pages). Catalogs. Reviews in specialized journals, magazines, and on-line newsletters. Conferences. Festivals. Markets. Relationships. Reputation.
First Run/Icarus titles generally show at colleges, universities, film societies and film festivals, public libraries, high schools, government agencies, unions, health care agencies, hospitals and hospices, some television. Its titles are in most major AV collections across the country. Several of its films have been on the PBS series P.O.V. and on the Sundance Channel.
Jonathan Miller has been President of First Run/Icarus Films since it was founded 20 years ago. He is also one of the creators and founders of www.DocuSeek.com - a search site and digital portal for independent documentary films. Miller has said: “I love it when I see a documentary that grabs my interest and holds it and that doesn’t disappoint me in the end intellectually. If I can help get that film to an audience who values it for its craft and who can also use it constructively in what they do, I find that stimulating and rewarding.”
Agent Orange: A Personal Requiem A Film by Masako Sakata
As a young man in the late Sixties, Greg Davis served for three years in the U.S. Army in Vietnam. The area where he was stationed was one of many throughout the country sprayed by the military, as part of its counterinsurgency strategy, with millions of gallons of defoliants, including Agent Orange, which contains dioxin, the most toxic chemical known to man.
After his military service, Davis married and worked for decades as a photojournalist for Time and other publications worldwide. In 2003, at the age of 54, he died from liver cancer, believed to be the result of his exposure to Agent Orange. Produced by Davis's widow, AGENT ORANGE chronicles the history of this lethally toxic herbicide, tracing its effects not only on her husband and other U.S. servicemen but also on the environment and continuing generations of Vietnamese.
Dust Directed by Hartmut Bitomsky
DUST examines the myriad forms and pathways of dust. It pursues dust to the places where it settles and meets the people who contend with it. DUST hears from a variety of scientists-botanists, biologists, meteorologists, and astronomers-who investigate the environmental and health consequences of dust, from Sahara sandstorms and the Oklahoma dust bowl of the Thirties to the toxic dust generated by the 9/11 demolition of the WTC towers.
The phenomenological, philosophical and even artistic aspects of the culture of dust are also explored in interviews with artists and collectors. By closely examining a subject that surrounds us in our daily lives, but to which we rarely pay serious attention, DUST provides us with a new appreciation of the many ways in which dust affects our bodies, our environment, and even the cosmos.
Energy War A Film by Shuchen Tan, Ijsbrand van Veelen & Rudi Boon
In a world in which the U.S. and Europe are addicted to oil and gas, and those increasingly scarce resources are controlled by authoritarian regimes in Saudi Arabia, Iran, Venezuela, Nigeria and Russia, the geopolitical ramifications have upset the traditional balance of power between nations. ENERGY WAR reveals precisely how the economic importance of fossil fuels affects international politics and becomes a powerful tool of foreign policy.
Thomas Friedman (author of The Lexus and the Olive Tree: Understanding Globalization and The World is Flat ) analyzes the political concept of "petro authoritarianism" and Kenneth Deffeyes ( Hubbert's Peak: The Impending World Oil Shortage and Beyond Oil ) explains the "Peak Oil" phenomenon, ENERGY WAR features interviews with economists, stock market traders, and new energy entrepreneurs who discuss the pros and cons of such possible substitutes as biofuels, hydropower, nuclear and solar energy.
The Nuclear Comeback Directed by Justin Pemberton
In a world living in fear of climate change, the nuclear industry is now proposing itself as a solution. THE NUCLEAR COMEBACK goes on a worldwide tour of the nuclear industry. It visits some of the planet's most famous nuclear facilities, including the control room of the Chernobyl nuclear power plant, it investigates the state of 'the grand old lady' of commercial nuclear power, the U.K.'s Calder Hall, and travels through a nuclear waste repository under the Baltic Sea, a uranium mine in Australia, and one of only two fuel recycling plants in the world.
Despite nuclear power's new environmental benefits, detractors claim that it's producing a 100,000-year legacy of radioactive waste, for which there is not yet any permanent storage, that the power stations are known terrorist targets, and that the industry, in addition to its links to nuclear weapons, has a reputation for accidents and cover-ups. THE NUCLEAR COMEBACK thus poses the question of whether, by seriously considering the renewed development of nuclear power, we may now be gambling with the survival of our planet.