Wendy Carroll is driving to Ketchikan, Alaska, in hopes of a summer of lucrative work at the Northwestern Fish cannery, and the start of a new life with her dog, Lucy. When her car breaks down in Oregon, however, the thin fabric of her financial situation comes apart, and she confronts a series of increasingly dire economic decisions, with far-ranging repercussions for herself and Lucy. WENDY AND LUCY addresses issues of sympathy and generosity at the edges of American life, revealing the limits and depths of people’s duty to each other in tough times.
Based on the short story “TRAIN CHOIR” by Jon Raymond.
A contemplative movie like this clears all the whirling, meaningless imagery out of our heads. –THE NEW YORKER
…the film manages that rare feat of being both remarkably prescient and modest at the same time. –TIME OUT
The victories and insights gained in Wendy and Lucy are hard-won and small in stature, but they linger on the mind. –THE STAR
Directed by GEP collaborator James Felix McKenney (AUTOMATONS, HYPOTHERMIA) Starring: Don Wood, Christine Spencer, Angus Scrimm, Reggie Bannister, Michael Berryman, Debbie Rochon, Larry Fessenden
From Vinegar Syndrome: 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 (BLACKOUT, 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.
Homicidal maniac Marc (Don Wood) is constantly driven by demons buried deep within his soul while party girl Wendy (Christine Spencer) lives life fast and hard without a second thought to the consequences. Their separate paths will eventually cross, but will it be on the road to salvation or the highway to hell?
Region A Blu-ray
Feature film in HD for the first time
Stereo and 5.1 audio mixes
Original SATAN HATES YOU trailer
22-minute “making of” featurette
“Creepy Christmas” short film – “December 23rd”
“Creepy Christmas” short film – “Eighteen Reindeer”
13 TV segments from the film featuring Angus Scrimm, Pauley Perrette and author Max Brooks
Audio Commentary with writer-director James Felix McKenney, cast & crew members Laree Love and Noah DeFilippis
Larry and I started talking about a year and half ago.
In April of 2024 I made a small piece of animation that was the seed of the idea: frames of animation built up on a rotating platform. I was interested in the dynamic between the growing sculptural form of accumulating frames and the more two dimensional experience of the interior animation. The sculpture becomes the carcass of the film’s expired animated life, and by reconciling the needs of the sculpture with the needs of the animation, both end up taking on unexpected organic qualities, suggesting further growth.
When Larry sent me the song, I think I had already started envisioning a Babel-like construction on the rotating platform, being inspired by my printmaking professor Lothar Osterburg’s series of prints reinterpreting Bruegel’s Babel. “Tender” – with its themes of accumulation, consumption and decay, seemed like the perfect opportunity. Larry told me that the single’s leading image was in fact the Tower of Babel, and it felt like we had to do it.
I started vaguely planning different sites on the tower that would represent different lyrical moments – but allowed the construction to be fairly improvisational too. Often producer Walker White and I would decide to do something different than what we had planned on the day if we happened to find something interesting to incorporate into the construction. The election happened while we were animating and influenced and augmented the inclusion of newspaper sections.
Larry was basically hands off – allowing us to follow whatever weird fancies happened to strike. His one requirement was that a natural disaster of some kind happen to conclude the video. Fire was of course the most exciting to all of us. I think most successful music video are essentially 3 or 4 act compositions and that in the best ones the final rug pull slightly zags, taking a savvy viewer a bit by surprise. The fire I think keeps things fresh just at the moment that novelty of that the “growing tower” concept for the video has worn off. Figuring out how to incorporate the live action fire into the otherwise stop-motion video was another moment in which the reconciliation of different artistic impulses creates a more interesting experience.
Larry sometimes calls me an “architectural filmmaker”, which leads to some mild bickering – the chief pleasure of our collaborations. Part of the reason why I object to the phrase is that it suggests the filmmaker as having a master blueprint where the actual making of the film is just a paint-by-numbers affair where an essentially static plan is executed. I’m far from capable of this sort Hitchcockian masterminding. What I like about filmmaking excavation and discovery – the emergence of solutions through playful trial and error. When we make a film we set ourselves problems – different artistic impulses, or differing ideas amongst collaborators. The process of synthesizing sculpture and animation – or stop motion and live action – is not one that is done on paper ahead of time, but by following our noses, by remaining stubbornly playful and curious even as the walls close in around us.
Director, Cinematographer – James Park Siewert Producers – James Siewert, Walker White, Larry Fessenden Animators – James Siewert, Walker White, Ewan Creed, Ruth Lichtman, Lily Rand, Auden Lincoln Vogel Motor Programming – Oz Hewett Art Department – James Siewert, Walker White, Ewan Creed, Lily Rand, Jacqueline Brockel, Emma Bautista, Amelia Thompson, Trey Scantlen, Minna Brackett, Madaline Hartl, Isaac Woon, Owen Campbell, Auden Lincoln Vogel, Larry Fessenden, Beck Underwood, Brent Green Special Thanks – Natalie Hoffman, Jason Sondock, Rebecca Park, Laurence Tobey
“Tender” from the album CURTAINS by Just Desserts written and sung by Larry Fessenden
Tom Laverack – Guitar & Vocals Larry Fessenden – Vocals & Saxes Mark Ambrosino – Drums & Percussion Dave Richards – Bass David Morgan – Piano Jack Petruzzelli – Electric Guitar Jack Fessenden – Electric Guitar
Former Glass Eye intern Nick Funess releases two feature films this year. His debut flick YOUNG BLONDES, STALKED AND MURDERED lands distribution with Anchor Bay, available to watch on various VOD platforms and several theatrical engagements lined up. His second feature THE HEDONIST, starring Funess (with a cameo by GEP Intern Alumn Santiago Saba Salem) premiered at Panic Fest 2025, continues its festival circuit.
Screen Anarchy on THE HEDONIST: There’s a layered sense of play, melancholy and almost dangerous uncertainty throughout The Hedonist that works perfectly for this movie about a young man we sympathize with but wouldn’t actually want to meet. It’s a difficult and distinct tonal balancing act that builds on the promise of his first feature and only makes me more excited to see whatever Funess does next.
Screen Anarchy on YOUNG BLONDES, STALKED AND MURDERED: Young Blondes, Stalked and Murdered is perhaps more tragedy than slasher. And rather than combine them, Funess makes them clash: murder isn’t the cause of tragedy, it’s the possibility of not being murdered that’s tragic.
“ENGROSSING AND FRIGHTENING… Director Douglas Buck takes inspiration from both Cronenberg and ’70s Italian horror to make SISTERS his own.” Fangoria
THE WORLDWIDE UHD PREMIERE 3 DISC COLLECTION INCLUDES BONUS SOUNDTRACK CD
In this reimagining of the Brian De Palma classic, director Douglas Buck (FAMILY PORTRAITS: A TRILOGY OF AMERICA) takes the film’s themes of disturbed bloodlines to startling new extremes for the first time ever in UHD: When a persistent reporter (Oscar® nominee Chloë Sevigny of BOYS DON’T CRY and AMERICAN PSYCHO) investigates a controversial doctor (Oscar® nominee Stephen Rea of THE COMPANY OF WOLVES and THE CRYING GAME), she’ll uncover a case of murder, manifestation and identical twins (the American film debut of model/actress/singer Lou Doillon) with a horrific secret. Dallas Roberts (The Walking Dead) and William B. Davis (The X-Files) co-star in this “bold take on the original” (Devil Dead), now scanned in 4K from the original camera negative with 4+ hours of Special Features and a Bonus Soundtrack CD.
DISC 1: 4K UHD (FILM + SPECIAL FEATURES)
Audio Commentary With Director Douglas Buck And David Gregory Of Severin Films
Archival Audio Commentary With Douglas Buck
Trailer 1
Trailer 2
DISC 2: BLU-RAY (FILM + SPECIAL FEATURES)
Audio Commentary With Director Douglas Buck And David Gregory Of Severin Films
Archival Audio Commentary With Douglas Buck
Deleted And Extended Scenes
Archival Making-Of
Trailer 1
Trailer 2
Glass Eye Pix Presents Tales From Beyond The Pale
“Hidden Records” By Douglas Buck Featuring Kevin Cline And Tony Todd
Performed Live July 27, 2015
THE BROKEN IMAGO – Promo For Unmade Douglas Buck Feature
“Electric Blue” By Pornographie Exclusive – Music Video Directed By Douglas Buck
DISC 3: SOUNDTRACK CD
Exclusive Booklet By Claire Donner Of The Miskatonic Institute Of Horror Studies
Disc Specs:
Runtime: 92 mins
Audio: English 5.1, English Stereo
4K Video: Dolby Vision
Closed Captions
Region Free
Aspect Ratio: 1.85:1
*All foreign-language featurettes are subtitled in English.
Limited Edition Slipcover
SISTERS was executive Produced by Fessenden and Produced by the iconic New York Producer Ed Pressman. The disc features a Tale From Beyond The Pale performed live in Montreal and a short film featuring Fessenden shot in 2024
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...
