A feature-length horror anthology, weaving together nine tales of terror, following isolated citizens in cities around the world as they confront their darkest fears in an attempt to survive an increasingly deadly pandemic.

All the films were shot entirely at the height of the Covid-19 Lockdown by the following directors: Larry Fessenden (The Last Winter, Habit, Depraved), Bobby Roe (The Houses October Built 1&2), Andrew Kasch (Tales Of Halloween), Dennie Gordon (Jack Ryan, Outer Range, Legion, Hunters), Zach Passero (Wicked Lake), Christian Pasquariello (Alien Invasion: S.U.M. 1), Alexandra Neary (The Innocent), Alix Austin and Keir Siewert (Retch), and Kyle I. Kelley and Adam Brown (The Music Lesson).

Bloody Disgusting has the scoop

“Astute, absorbing and gleefully thorough! Craig Ian Mann offers a thoughtful and scholarly deep-dive into a century’s worth of werewolf movies, exploring themes of alienation, sexuality and rebellion within a cultural context. Along the way, Mann happens to assert the irrefutable social significance of the horror genre. Bravo!”
—LARRY FESSENDEN, WRITER AND DIRECTOR

(Fessenden’s blurb from the back cover)
Front illustration includes the werewolf from Glass Eye Pix’s LATE PHASES

Now available!

’tis the season for spooky Santas!

GEP Pal Will Bates of Fall On Your Sword and composer of Fessenden’s DEPRAVED and BENEATH,
delights us with his annual Christmas Audio Offering Santa is Coming to Town b/w White Christmas…
Available on iTunes,  streaming on youtube and in a limited vinyl edition.

Greetings Friends of Glass Eye Pix

Each year we have a Holiday party
in our New York City Apartment
for local friends and associates.

And since 1989
we’ve kicked off the party with an informal and ram-shackle
puppet performance of Dickens’ SCROOGE
because … it is one of the great yarns!

This year we decided to make a version of the show
to connect with our absent friends and
we thought we’d share the link with you too,
to spread a little Holiday Cheer.

If you have a look, we hope you’ll find a glow
and have a chuckle.

—Larry

Depraved: an interview with Larry Fessenden

The name of Larry Fessenden is very well known in the indie horror industry, but not so much outside of it; he seems to be a legend in his own field. So I asked Larry how he sees himself. “I loved Jaws when I was little, so I thought I would be a filmmaker like that. But at the same time, in my generation, I didn’t really know how to ‘break into showbiz’, so my point is you have different levels of ambition, and as you get older, you realize there are many different careers. I also very much like George Romero, he is a role model, and he always felt frustrated that he wasn’t supported by Hollywood; he had a few forays. At some point they attached the word ‘icon’ in front of my name, and it’s a complete mystery but why wouldn’t I take it? Not for the ego: I always say you want good reviews, and words like ‘icon’ in order to gain power in the industry to make good work, or support other people’s work. That’s really the agenda. So it hasn’t worked out terribly well, but it’s still nice to have a voice; in that, I’m privileged. Even in my small section of the world.”

Read Interview HERE

From Slant:

52. Depraved (2019)

What does a Frankenstein figure look like in 2019? According to Larry Fessenden’s Depraved, he’s a guy with war-addled, once-noble intentions set adrift by male ego and shady benefactors. He’s a white man grasping for control in a world coming apart, a cog in a machine who hasn’t broken free so much as changed the machine’s function—from that of war to that of the pharmaceutical industry. The film, Fessenden’s first feature as both writer and director since 2006’s The Last Winter, paints multiple psychological portraits that are sad, angry, and strangely beautiful. It shows us the mind of not just PTSD-afflicted field surgeon Henry (David Call), but also that of his prototypical sewn-together “monster,” Adam (Alex Breaux), and his assistant and Big Pharma bankroller, Polidori (Joshua Leonard). Throughout, the film it remains firmly focused on its thesis of Frankenstein as a lens for examining modern society. Fessenden catalogues what personalities and power dynamics have shifted and what hasn’t changed at all. He diagnoses the rot of our era through these solipsistic men that pour their prejudices and their insecurities into Adam, an open book eventually read back to its authors with a violence they cultivated themselves. 

See Full List Here