Tune in to Scratching the Surface on Horror Happens Radio
TOMORROW and listen to an interview with GEP pal April Snellings.
While you’re at it, swing by Tales From Beyond the Pale to enjoy
FOOD CHAIN, SPEAKING IN TONGUES and COLD READING,
all penned by Snellings.
#8
WLFR
Galloway, NJ
#32
WTCC
Springfield, MA
KHSU
Arcata, CA
KKFI
Kansas City, MO
KMUD
Redway, CA
KOPN
Columbia, MO
KRSC
Claremore, OK
KXUA
Fayetteville, AR
WERU
E. Orland, ME
HOLIDAY available on Limited Edition Vinyl LP
Buy now while supplies last.
Now streaming on…
Apple Music * iTunes * Follow on Spotify & Instagram
From Paste: Like Me is an indictment of a life spent “extremely” online: a thriller in which the thrill is the threat of empty transgression; a body horror flick in which the body horror is the way social media and Tumblr and Reddit and YouTube transform us, make us grotesque, perverting basic physical functions into scary, dysmorphic representations of the flesh sacks we carry around with us whenever we’re not online. Early in the film, writer-director Robert Mockler introduces us to the online world of our main character, Kiya (Addison Timlin, terrifying), via a disturbing barrage of hyperreal, gif-like images—close-ups of sugary cereal and milk chewed sloppily, of a viscous tongue mid-slurp, of Kiya doing weird kinesthetics in a dirty motel room while the camera capsizes and arises around her, this Manic Pixie Dream Girl who embodies each of those words as literally as possible. Though Mockler implies that these are all curated posts Kiya’s put online, we believe that this is how she sees the world. Aided by some seriously heady opioids and hallucinogens, she can’t help but digest her lived experiences without mitigating them digitally. As Kiya moves through Mockler’s pink-ish, neon dystopia, DP James Siewert shooting Timlin as if she’s stranded in the middle of a Michael Mann joint, everything seems on the table. Kiya lures a motel manager, Marshall (Larry Fessenden, better than excellent), to her room—another room, another motel, somewhere on this stupid planet—with the possibility of sex. Instead, he finds Kiya’s redecorated her room like an outtake from The Cell, testing the lonely guy’s willingness to go along with whatever insanity’s in store. Of course, some icky gastrointestinal calamity occurs, but Marshall never flinches, so Kiya kidnaps him and takes him with her. Gorgeous and gross in equal measure, Like Me is a visual feast. Mockler conjures setpieces out of practically nothing, crafting each frame with a meticulous symmetry that belies the chaos at the heart of Kiya’s impulsive odyssey.
February is Women in Horror Month! As part of the Horror News Network spotlight on women this month we wanted to catch up with Beck Underwood to learn about her experiences in the horror industry. This busy lady is an animator, art director, writer, producer, and curator of The Creepy Christmas Film Festival. Read on to learn about her experience with Glass Eye Pix, her work with a girl’s club for a short horror film, and her thoughts on supporting women in horror.
Horror News Network: Have you always been a fan of horror?
Beck Underwood: Yes, I would say my preference as a child was towards the uncanny, the supernatural, and witchy. I am adopted and always had a sense of another, parallel universe, a sort of echo that ghostly stuff spoke to. I think as I got older, the complicated resonance of “the other” inherent in monster movies opened my heart to good old creature-feature love as well.
HNN: What inspired you to become a creator of horror?
Underwood: Becoming a creator specifically of movie horror came from working with my boyfriend, now husband, Larry Fessenden. Our courtship was steeped in horror, from spooky movies to more whimsical macabre works of say, Edward Gorey. There was a lot of gifting of Edward Gorey books and old horror comics and pulp collections. Finding collaborative soul-mates that share your creative interests is pretty magical. Coming up in the art department, I have made a lot of amazing lifelong friendships. Working on indie films and specifically my association with Glass Eye Pix has also empowered me to do my own thing – create my own short stop-motion films.
HNN: You are involved in horror in so many ways (animator, art director, writer, producer, and curator). Based on your experiences, do you feel there are any differences in how women are perceived in the various roles?
Underwood: Oh my GOD, YES. First off, I’m so excited to be learning of all the women working in horror through this month of Women in Horror.
1996, Meredith Snaider and Fessenden in HABIT.
Happy Valentine’s Day from Glass Eye Pix.
Get together with your special someone and enjoy all 6 episodes of The Unlovables,
starring Eleanor Hutchins and Kevin Corrigan, featuring Fessenden as “Frank”.
Written and directed by Ilya Chaiken (LIBERTY KID).
From iHorror: “Jenn Wexler has made a name for herself as a genre producer before stepping into the director’s chair with The Ranger, and her clear dedication to the genre has resulted in a slick, punk rock killer thriller. It’s delightfully vicious and pulls no punches, and it proves that she’s a name to watch for.”
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