OPEN HOUSE: writer/director Philip Aceto. (2018, 17 minutes)
cinematography: Zach Zamboni
featuring Michael Rose, Carey Van Driest, and Roger Yawson

watch the teaser below
and join us in the CineZone to see the film

Watch OPEN HOUSE in The CineZone.

TBT: Serving up some ice cold BTS pix from the set of Fessenden’s WENDIGO and THE LAST WINTER
and James Felix McKenney’s HYPOTHERMIA.

Our pals over at Yellow Veil will represent worldwide sales for The Spine of Night, an ultra-violent, hand-rotoscoped epic fantasy inspired by the cult classic works of animators Ralph Bakshi and Frank Franzetta. The film is set in a fantasy land ripe with magic and intrigue where a dark force is unleashed sending mankind into an age of ruin. It falls on heroes from different eras and cultures to fight back, and stars Richard E. Grant, Lucy Lawless, Patton Oswalt, Betty Gabriel, Joe Manganiello, Abby Savage, Rob McClure and Fessenden.

Screen Anarchy has the skinny on the SXSW Midnighter. 

The 20 Best Frankenstein Films Ranked!

The indie horror honcho Larry Fessenden’s take on the Frankenstein story begins with an amnesiac stabbing victim waking up in a makeshift Brooklyn lab with a stitched-together body. The PTSD-afflicted ex-military medic who revived him tries to educate his creation in all things beautiful, but his partner has less elevated plans for the creature. Good characters, lo-fi psychedelia, sadness, doom.

read full list at The Guardian

Glass Eye alumn Eric Pennycoff wraps production on his sophomore film THE LEECH.
Starring GEP pals Graham Skipper (ALMOST HUMAN, THE MIND’S EYE), Jeremy Gardner (LIKE ME, PSYCHOPATHS), Taylor Zaudtke (SADISTIC INTENTIONS, THE EGG AND THE HATCHET)
and GEP filmworker Rigo Garay (SIZE UP, MISS MILLIE).

From Pennycoff: “The film is about how far one man is willing to go in order to save the lives of complete strangers, even if it means losing himself in the process. Can a man of God truly turn the other cheek? Or do even the holiest of leaders have their breaking point?”

Screen Anarchy has the scoop!

Reichardt, whose recent film FIRST COW has been sited on several “best film of 2020” lists, is presented with the Robby Muller Award and speaks with Ann-Marie Corvin of Variety:

from Variety:

‘First Cow’ Director Kelly Reichardt on the ‘Daily Process of Making Art’

Accepting the Robby Muller award online this week, ahead of a talk at the International Film Festival Rotterdam to celebrate her work, Kelly Reichardt appeared delighted with its form.

In its second year, the award has taken the guise of an enlarged Polaroid print featuring a solitary tree, which was taken by Muller on a winter’s day in Munich during the eighties.

Both Muller and the award’s recipient have a talent for capturing landscapes and Reichardt said that she studied the late cinematographer’s work closely early in her career to “try and figure out the connection between what you dream of and what you can actually capture.”

She recalls making her first film, “River of Grass” in the early nineties, which focused on her native Miami landscapes, as she honed her own distinct voice and vision.

“I knew I needed to school myself in lenses after that film because every set up of that camera informed me of what I didn’t know, and what I needed to figure out,” she told IFFR’s online Big Talk audience.

Reichardt added that she also learned to edit during this feature, under the tutelage of jack-of-all trades filmmaker Larry Fessenden.

This debut marked the start of many reoccurring themes in her work including corporations’ lasting impact on landscapes, society and individuals.

read full article 

From the director of JUG FACE comes a new nightmare featuring Fessenden

“bizarre, discomfiting
idiosyncratic, provocative, nimble”
—Rue Morgue

From Rue Morgue’s Review
“It’s a chilling journey—simultaneously more grounded in reality than JUG FACE and far, far more bizarre and discomfiting when it slips into the darkness. (It’s probably worth noting for the unfamiliar that both Groshong and Fessenden, who give extraordinarily naturalistic performances here, were in JUG FACE as well.) These narrative and aesthetic schisms are powerful and effective, keeping viewers off kilter in a way that is uncomfortable, yes, but also strangely enlightening.

“DEMENTER establishes beyond the shadow of a doubt that JUG FACE was no fluke: Kinkle is an idiosyncratic, provocative, nimble filmmaker who eschews simple answers, and with every frame might as well be whispering in your ear: The only way out is through…”