“Most Beautiful Island” is a psychological thriller examining the plight of undocumented female immigrants hoping to make a life in New York. Shot on Super 16 with an intimate, voyeuristic sensibility, “Most Beautiful Island” chronicles one harrowing day in the life of Luciana, a young immigrant woman struggling to make ends meet while striving to escape her past. As Luciana’s day unfolds, she is whisked, physically and emotionally, through a series of troublesome, unforeseeable extremes. Before her day is done, she inadvertently finds herself a central participant in a cruel game. Lives are placed at risk, while psyches are twisted and broken for the perverse entertainment of a privileged few.
“Anchored by Asensio’s fearless and gripping performance, Most Beautiful Island directs an unflinching point of view toward an often invisible population.” -Los Angeles Times
“a character study of survival in a capitalistic, hierarchical world that is not completely bereft of humanity… an intriguing and slow-burn reinvention of survival horror.” -Austin Chronicle
“Uses restless tracking shots, hectic cityscapes, ambient noise and sequences of prolonged stillness to conjure unease and dread”. -The New York Times
Available on Prime Video, Tubi, PlutoTV
Ramping up to GEP’s 40th Anniversary, we celebrate 40+ projects that have come from our shop
Following a near-death car accident, four friends on their way to a Halloween wedding,venture to a secluded farm for help. Little do they know however, they will soon disturb an ancient evil with far more ghastly plans in store for them!
“Brilliant! the best zombie bat movie I’ve ever seen.” —AINT IT COOL NEWS
“West shows us that there is nothing wrong with the horror-movie archetype as long it’s crafted right.” —TWITCH
“a wonderful Super 16-mm throwback to the 1970s horror so many of us love and miss… if I hadn’t known this was a brand new release, I would have sworn I really was watching an old 70s horror movie.” —SEVERED CINEMA
A reckless loner, desperate for human connection, sets out on a crime spree that she broadcasts on social media. Her reality quickly splinters into a surreal nightmare that escalates out of control and all in time for Christmas.
“Like Me is a bombastic feature debut for Robert Mockler, benefitting heavily from visual artistry and Addison Timlin’s strong performance.” -We Got This Covered
“a solid thriller with an edgy vision of millennial lunacy… delivers a wonderfully twisted antihero only possible in the 21st century.” -Indiewire
“The first-time feature director guides Like Me through its myriad of tonal shifts and stylistic flourishes with the grace of a seasoned filmmaker… likely to be the most exciting debut you’ll see this year. Or maybe any.” -CutPrintFilm
Blind Vietnam vet Ambrose McKinley (Nick Damici, Stakeland) moves into a retirement community where he hopes to live out his final days. The only problem: he’s living right down the street from a vicious, skin-shredding lycanthrope. Eating Ambrose’s beloved dog, Shadow, is the last mistake it’ll ever make. Now it’s finally pissed off the only human being as tough and as hard-to-kill as itself.
Creative camerawork and some fantastic prosthetic work combine for a fairly stunning sequence the likes of which we haven’t seen in years. Rob Hunter FILM SCHOOL REJECTS
Utterly unusual, totally fresh, and a really heartfelt meditation on aging that would make a perfect double bill with Bubba Ho-Tep Richard Whittaker AUSTIN CHRONICLE
“GOOD BOY is a Rousing Success That Defies Genre Expectations… applaudably innovative.” — Daily Dead
“a testament to the expert canine-handling skills of Leonberg and his wife, the film’s producer Kari Fischer, who find ingenious ways to get such a convincingly terrified performance out of their dog.” —The Hollywood Reporter
“With Larry Fessenden as the family patriarch, whose foreboding presence appears solely through distressed VHS tapes playing, Skinamarink-style, on outdated TVs, the house here becomes something of a liminal space, one in which the ghostly presences are unseen (again, that “dog barking at nothing”) and suddenly erupting in demonic spurts.” —Filmmaker Magazine
James Le Gros Spent Two Years Figuring Out His Severance Character
From VULTURE by By Roxana Hadadi
For decades, Le Gros’s rugged handsomeness and quirky accent work brought lived-in texture to a number of cult classics (Near Dark, Point Break, Drugstore Cowboy), critically acclaimed TV series (Ally McBeal, Mildred Pierce, Justified), and indie films (Support the Girls, Showing Up, Good One). In “Sweet Vitriol,” his Hampton is a gravelly voiced, ether-dealing diner owner who has a long history with Harmony — they worked in the factory together, still spark with romantic chemistry, and newly share a burn-it-all-down ideology when it comes to anything Lumon. Harmony is the most human she’s ever seemed around Hampton, and Le Gros, who has known Arquette since 1989, says their dynamic came from a fair amount of improvisation encouraged by director Ben Stiller, as well as an extra-long gap between shooting scenes for the episode. “This guy was in my head for almost two years,” Le Gros says of his character. “It’s like traveling with a ghost. It doesn’t ever leave you, because you know you’re going to be called to task at some point.”
How did Hampton come to you? Casting directorRachel Tenner has been very kind over the years. I auditioned for Ben for Escape at Dannemora. I didn’t get that job, but Ben wrote me a really nice note saying, “It didn’t work out, but I hope to work together in the future.” I’ve received several of these kinds of notes over the years. However, I’ve never been hired. [Laughs.] So it was somewhat of a surprise when this offer came to my agents. I got a text from Ben saying, “We got this part, we thought of you. Give it a read. Not sure if you know about the series.” I’d heard of the series, but I hadn’t seen it. I read the script and it was fantastic, then I binge-watched so I could be familiar with the world, and I said “yes,” of course.
Hampton is very antagonistic with Harmony in a way that speaks to a lot of history. I’ve known Patricia since 1989. I used to surf with this guy who was dating her at the time, and I had a pickup truck. He said, “I gotta move this stuff out of my girlfriend’s mom’s house.” That’s how we met. Patricia made us cookies. Patricia’s always had a very big, generous, giving heart.
… and of course, you can see James Le Gros in many Glass Eye Pix productions including THE LAST WINTER, BITTER FEAST, STRAY BULLETS, FOXHOLE, BLACKOUT, several Tales from Beyond the Pale…
Glass Eye Pix is the fierce independent NYC-based production outfit headed by award-winning art-horror auteur Larry Fessenden with the mission of supporting individual voices in the arts. Read more...
