This weekend, take a listen to Tales From Beyond the Pale Season 3.
Enjoy 10 original stories from genre favorites Stuart Gordon and Eric Red,
Tales regulars Jeff Buhler and Joe Maggio and a host of exciting guests as well as
McQuaid and Fessenden.
Available to download on iTunes
2007, Terrence Howard and Fessenden on
set of The Brave One.
From Flamingo: “There seems to be some sort of underbelly,” says Larry Fessenden, a New York-based genre film producer who also co-starred in one of the classic Florida outlaw movies, River of Grass. The 1994 debut film of writer-director Kelly Reichardt (Wendy and Lucy,Certain Women), rereleased in 2016 and widely available to stream, emulates vintage film noir in the desperate tale of two lovers on the lam, fleeing the fuzz after a random act of violence. Except no one is dead, the lovers aren’t in love and the police aren’t looking that hard to find them.
“It’s kids on the run without them getting anywhere.” The anti-drama, as Fessenden calls it, evokes Marjory Stoneman Douglas’s 1947 book about the Everglades as it soaks in the ambience of fringy Dade County, where Reichardt, daughter of a crime scene investigator and a narcotics agent, grew up. It’s the best sort of Florida movie, one that uses a familiar plot formula, but discards predictability like a lukewarm Icee to capture something essential in the humid, mosquito-ridden, sun-bleached, nothing-much of it all.
Variety: THE MOUNTAIN “Rick Alverson’s beautiful, often inscrutable new film takes a stand
for eccentricity in a complacent suburban nightmare.”
Starring Tye Sheridan, Jeff Goldblum, Denis Lavant,
Hannah Gross, Udo Kier and featuring Fessenden as ‘Meals’.
Directed by Rick Alverson (THE COMEDY, ENTERTAINMENT).
SHUDDER presents a brand new series DEADWAX
written and directed by longtime GEP collaborator Graham Reznick
(director, I CAN SEE YOU, THE CAREGIVER;
sound design THE HOUSE OF THE DEVIL etc, co-writer UNTIL DAWN)
produced by Peter Phok
(producer THE INNKEEPERS, BENEATH, IN A VALLEY OF VIOLENCE)
and in association with Glass Eye Pix.
DEAD WAX episode one unspools at Tribeca TV Festival on Friday, Sept 21.
All episodes will screen at Fantastic Fest 2018 Sunday!
A young woman is pulled into a murder investigation revolving around a curious vinyl record
which has driven those who possess it mad, and killed anyone who dared to listen to it.
Ti West joins The Boo Crew Podcast and talks The House of the Devil,
haunted secrets behind the Yankee Pedlar and what he’s up to next!
ONLY A SWITCH will open at the Woodstock Film Festival, October 2018.
Special Q&A with the filmmakers on the opening night!
“Drawing inspiration from distinct cinematic voices such as Georges Méliès, Stan Brakhage and Jonathan Caouette, it is a kaleidoscopic visual feast achieved through inventive digital manipulation, hand-painted film and old-school optical trickery. Tenderly romantic, delightfully weird and fiercely erotic, Only A Switch is not just a film — it is an experience.”
Starring Lauren Molina, Helen Rogers, Larry Fessenden, Nigel DeFriez and Robert Olsen.
Directed by Michael Vincent.
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. —Dom Sinacola
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