Looking for a way to get your indie genre film made? You might wanna read this! Frontières at Fantasia Fest has some promising projects coming through those doors, including GEP producer Jenn Wexler’s directorial debut, THE RANGER.
Glass Eye pal Mike Gingold talks THE RANGER in this Fantasia/Frontières exclusive!
“During this summer’s Frontières International Co-Production Market at Montreal’s Fantasia festival, RUE MORGUE got the chance to chat with several filmmakers who were there pitching ambitious genre projects to potential backers. Among the most notable were Jenn Wexler and Larry Fessenden of Glass Eye Pix, with a unique maniac-in-the-woods chiller called THE RANGER”
Glass Eye Pix returns to the States after a marathon pitch week for its latest project THE RANGER to be directed by Jenn Wexler (producer on DARLING, LIKE ME, PSYCHOPATHS). Screen Daily has the scoop:
“Two hot TV projects, an environmental zombie and an unhinged park ranger were among highlights at the eighth edition of the horror market.
Frontières International Co-Production Market continued to showcase its growth at Fantasia International Film Festival as it kicked off its eighth edition on Thursday [July 21]…
Prolific genre producers Glass Eye Pix showcased The Ranger, the feature directorial debut from Jenn Wexler about a teen punks who come across an “unhinged park ranger with an axe to grind”…”
Similar to the famed Sundance Labs that have helped foster the careers of such future A-list filmmakers as Quentin Tarantino and Cary Fukunaga, Shudder Labs — which held its inaugural edition earlier this month — invites a group of select filmmakers to attend a week-long retreat with established industry names to take their works-in-progress to the next level. The difference? Shudder Labs focuses its mentorship efforts on filmmakers working in the horror genre, providing them with the guidance of such genre vets as writer/director Larry Fessenden (Wendigo, The Last Winter), Snowfort Pictures CEO Travis Stevens and Lindsay Peters, Industry Director of the genre-centric Fantasia Film Festival and Director of the Frontières International Co-Production Market.
Read full article HERE.
Back in February, we told you about Shudder Labs, a new program from the horror-specific streaming service—which is still quite new itself, having launched last summer—designed to help up-and-coming horror filmmakers launch their careers by introducing them to mentors with experience serving in the horror trenches. Since then, the Masters-In-Residence for the program have been announced—Habit director and ubiquitous indie-horror actor Larry Fessenden, The Boy writer Clay McLeod Chapman, Darling producer Jenn Wexler, SFX artists Josh and Sierra Russell, and more—but we’ve yet to hear about the lucky fellows themselves.
Last night, DARLING opened in NYC’s Village East Cinema, followed by a cast Q&A moderated by Entertainment Weekly’s Clark Collis! Click right here to check out a gallery of pics from the evening.
By Chris Alexander at ShockTillYouDrop.com:
Review: Why DARLING is the Best Horror Movie of 2016
Filmmaker Mickey Keating’s deft fest hit is an indie horror landmark.
It’s not what you have.
It’s not the colors in the pallete.
It’s not the gear.
It’s not the tech.
It’s not the government funding. It’s not the marketing.
Art is none of these things.
No, art is simply the reflection of the artist, authentic and true and brave and bold and alive and visceral. Art is using whatever you have at your disposal to project the dreams and nightmares and hopes and fears and horrors and truths and fantasies you want to share in ways that are pure. In ways that are yours, unique to you.
The movie we’re chiefly here to discuss today, right now…It’s an immaculate work of art and one of the most affecting horror movies I’ve ever seen.
As you already know, that picture is director Mickey Keating’s poisonous psychodrama DARLING, a movie that breaks rules and is filled with so much innovation and such daring, deceivingly simple vision, that I actually yelled out loud as it un-spooled, shouting in excitement and a joy stemming from the revelation that the people that made it were not only making an auteur horror movie that was progressive and meaningful, but that a third party was backing the movie, distributing it and ensuring that people saw the movie and knew it existed.
DARLING. Sweet, horrible, savage DARLING.
Imagine early incarnations of David Lynch, Roman Polanski, Lars von Trier and Guy Maddin on a three day meth bender in one of Stanley Kubrick’s suites at The Overlook Hotel and you’ll get a sense of DARLING’s mission statement. Made for very little money with a skeletal cast on spare locations (primarily a looming house in what I think might be upstate New York), DARLING casts the doe-eyed Lauren Ashley Carter (JUG FACE) as an obviously disturbed girl who accepts a position as the caretaker at posh mansion owned by an elegant, icy and presumably wealthy woman (BLADE RUNNER’s Sean Young, looking great and a welcome presence back on the screen). Like Jack Nicholson’s Jack Torrance at the aforementioned Overlook in Kubrick’s impossibly influential THE SHINING, it’s clear that Carter is crackers from frame one. But considering the home’s haunted history, it’s a given that she’ll go even madder as the movie progresses. And she does.
My god, does she.
DARLING is co-produced by the great Larry Fessenden, who also appears in the film, a product of his Glass Eye Pix, a company that almost always makes interesting, modestly budgeted and wholly original horror films.
But here, backing Keating’s vision, they may have made their first real deal masterpiece.
DARLING is a perfect movie in its imperfection. It’s a movie that bends rules and defies expectations and always remains a messy, personal primal scream of a picture. It’s most assuredly a work of dark, seething art and, as the hyperbolic headline of this review screamed, it’s the best horror movie of 2016.
Well, so far, anyway.
But I can’t imagine it will get any better than this.
Then again, I haven’t seen Keating’s Sundance hit CARNAGE PARK yet…
Look for DARLING when it opens theatrically and on VOD on April 8th.
Blumhouse spoke with Fessenden, Graham Reznick, and GEP Producer Jenn Wexler (among others) about the development and use of the term “DEATHWAVE” to label horror movies with elevated plot and characterization.
FESSENDEN: I think my films have a deliberate and determined vulnerability, dealing with melancholy and loss as much as the horror tropes that I clearly love. I have tried for authenticity in my work, tried to get at nagging truths about things as I see them. There is nothing calculated or commercial in the work (just ask my investors) and so the movies are inspiring to young filmmakers that come from a more idealistic place as they start out in the business. I have also championed the do-it-yourself approach which again is inspiring for those with few resources and a dream. Maybe most of all, I take horror movies seriously. I’m telling scary stories that matter to me, the viewer can tell that. It’s not everyone’s cup of tea of course.
Glass Eye Pix braved the masses again this year for New York Comic Con 2015. Check out our photos from the event right here!