Glass Eye Pix (“one of the indie scene’s most productive and longest-running companies” —Filmmaker Magazine) is the fierce independent NYC-based production outfit headed by art-horror auteur Larry Fessenden (DEPRAVED, BENEATH, ABC’s of DEATH 2, NBC’s Fear Itself episode “SKIN AND BONES,” THE LAST WINTER, WENDIGO, HABIT, NO TELLING). Glass Eye Pix is responsible for narrative films, documentaries, books, comics, audio plays, and other unique work designed to inspire and contrast with corporate media. Fessenden (winner of the Someone to Watch Spirit Award) has operated the company since 1985, with the mission of supporting individual voices in the arts.

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The subject of a 26 feature-film retrospective at The Museum of Modern Art in April 2022, Glass Eye Pix has produced numerous critically acclaimed films in and out of the horror genre, including FOXHOLE (2022, Jack Fessenden), THE RANGER (2018, Jenn Wexler), PSYCHOPATHS (2018, Mickey Keating), LIKE ME (2017, Robert Mockler), MOST BEAUTIFUL ISLAND (2017, Ana Asensio), STRAY BULLETS (2017, Jack Fessenden), STAKE LAND 2 (2016, Dan Berk, Bobby Olsen), DARLING (2016, Mickey Keating), LATE PHASES (2014, Adrián García Bogliano), BIRTH OF THE LIVING DEAD (2013, Rob Kuhns), BENEATH (2013, Fessenden), THE COMEDY (2012, Rick Alverson), WENDY AND LUCY (2009, Kelly Reichardt), and LIBERTY KID (2008, Ilya Chaiken).

Glass Eye Pix established its reputation with a series of trend-setting genre films, starting with Fessenden’s early titles, followed by RIVER OF GLASS by Kelly Reichardt, and then the first four films of Ti West; THE ROOST, TRIGGER MAN, THE HOUSE OF THE DEVIL and THE INNKEEPERS, as well as the gently macabre I SELL THE DEAD by Glenn McQuaid, and the vampire saga STAKE LAND (Jim Mickle — winner of the Audience Award at the 2010 Toronto Film Festival’s Midnight Madness). Other unique genre films from the shingle include BITTER FEAST (Joe Maggio) and the outsider films of James Felix McKenney: THE OFF SEASON, AUTOMATONS, SATAN HATES YOU and HYPOTHERMIA (with Michael Rooker). Glass Eye Pix produced I CAN SEE YOU and the 3D short THE VIEWER for Graham Reznick who has gone on to co-author with Fessenden the popular Bafta-winning video game UNTIL DAWN.

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Glass Eye Pix produces the critically acclaimed series of audio dramas TALES FROM BEYOND THE PALE, now in its 4th season. Created by Fessenden and Glenn McQuaid, hosted by Fessenden, TALES delves into the twisted minds of new and established horror auteurs to present singular stories of the uncanny, stories that chill and delight fans of the macabre, continuing Glass Eye Pix’s mission to haunt audiences’ dreams with boldly original work.

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There are four major principles in play at Glass Eye Pix, first articulated in 1993. These principles are still a guiding force at GEP today.

  • That process and collaboration in filmmaking constitute a microcosm of life and socio-political interaction. To do good work in a collaborative process with fairness and finesse is an accomplishment and an end in itself.
  • That movies don’t have to cost a lot. Resourcefulness breathes life into the process and the product and frees us from the tyranny of commercialism.
  • Personal cinema is stimulating and exploitable if the audience is open, and the work truthful.
  • Just as a work is comprised of an accumulation of choices, an artist is defined by a body of work: The choices of projects over time tell a thematic story about the artist’s point of view.

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