The good folks over at Indiewire just released an exclusive first look at every poster from the upcoming season of TALES FROM BEYOND THE PALE. These retro-inspired beauties by Graham Humphreys are guaranteed to pique your interest and get you jazzed about the new season.

To see all the posters check out Indiewire.

Our 30th Anniversary Hootenanny continues with this series of Legacy Docs celebrating the community and collaborators that have kept us honest all these years…

Adam Barnick put together this portrait of GEP’s longest-running collaborator BECK UNDERWOOD, responsible for logos (HABIT, NO TELLING, WENDIGO), art departments (HOLLOW VENUS, I SELL THE DEAD, BITTER FEAST, STAKE LAND), script writing (NO TELLING, HABIT), GEP advent calendars, the CREEPY CHRISTMAS FILM FESTIVAL, the brand new TALES FROM BEYOND THE PALE teaser… and some mayhem of her own… check it!

We’re teaming up with Indiewire to present brand new episodes of TALES FROM BEYOND THE PALE.

“Indiewire is partnering with the independent horror studio Glass Eye Pix to provide exclusive first looks at the new episodes of its radio theater show “Tales Beyond the Pale.” Each Friday through mid-December, new episodes from the third season of the eerie audio plays will be available on the site for exclusive two-day windows alongside interviews with the talent.”

Read on for more info about the collaboration and an interview with Fessenden and Glenn McQuaid.

Supermassive Games, the makers of the Fessenden and Graham Reznick-scribed PS4 game UNTIL DAWN, have just announced that a new game, UNTIL DAWN: RUSH OF BLOOD will hit in 2016 as a Virtual Reality game.

Will you be able to keep everyone alive… again?

Read on for the full report.

The Fessenden-EP’d ENTERTAINMENT, director Rick Alverson’s follow up to the GEP-Produced THE COMEDY, opens in theaters today. See the film that Jeannette Catsoulis of NY Times calls a “downward odyssey that’s hard to shake off.”

From the NY Times:

By Jeannette Catsoulis

Watching “Entertainment” is a profoundly uncomfortable, some would say repellent, experience that isn’t easily forgotten. Yet I left this barbed portrait of a cracking-up comic with more than a little respect for its fearless director, Rick Alverson, and his trusting star, Gregg Turkington. You can’t deny that they’re a match made in heaven.

Or at least in the California desert, where Mr. Turkington, known simply as the Comedian (and playing a version of his real-life stand-up persona, Neil Hamburger), schlumps from one seedy, underpopulated gig to another. Onstage, carefully arranged strands of comb-over cling to his pallid forehead like wet seaweed, and spare drinks nestle in the crook of his arm. Whether he’s spewing tasteless riddles or responding to hecklers, his act is a sewer of misogyny, homophobia and sexual insult. There is also an unspoken sense that his audiences — trimmings of humanity trapped in a soulless limbo of dust and dive bars — deserve no better.

Capturing a world of flyblown mirrors and sad carpeting, where shirts are washed in motel room sinks, and terrible things happen in public restrooms, Mr. Alverson jacks up the tension with exquisite restraint. Winding scene after scene to a breaking point, he brings our discomfort to a rolling boil, then quietly backs away. Amplified by the stillness of Lorenzo Hagerman’s camera, these moments inspire an apprehension that feels slightly sadistic, as if Mr. Alverson were enjoying his screw-turning a little too much.

Even if he were, there’s a strange nobility to this downward odyssey that’s hard to shake off. Snippets of well-chosen music appear judiciously, though not in the movie’s best scene: a squirmy bathroom encounter between the comedian and a tense young stranger (a perfect Michael Cera). When the comic warns his new acquaintance to back off, we know the younger man would do well to listen. JEANNETTE CATSOULIS

“Entertainment” is rated R (Under 17 requires accompanying parent or adult guardian). Foul language, flowing alcohol and frightening midwifery. 

Spend this Friday the 13th with a double dose of Fessenden at the Ithaca International Film Festival. GEP-produced DARLING and Joe Begos’ THE MIND’S EYE play back to back tonight… look out, Ithaca!

DARLING
Directed by Mickey Keating
8pm
Tickets and Info

THE MIND’S EYE
Directed by Joe Begos
10pm
Tickets and Info

This weekend (Friday November 13th and Saturday November 14th) IFC Center in NYC screens STAKE LAND at 12:15am (b0th showings) as part of their Glass Eye Pix: 30th Anniversary Tribute. Catch up with the film variety called “Highly cinematic, pitch-perfect…”

Head over to IFC for tickets and more info.

As the years have gone by, though, there has been a slow buildup of quality films that take the tropes of the past and come at them in ways that are stylish, naturalistic, and emotionally devastating. However, this current trend hasn’t sprung out of nothing — in fact, the origin point for the current cinematic landscape in horror can be pinpointed to a single filmmaker. But that filmmaker wasn’t Craven, Romero, or even Carpenter — instead, it was a wild-haired New York City native with a broken smile by the name of Larry Fessenden.

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Fessenden’s films take their time to build up their horror elements, to the point that the terror part of the trilogy could be seen as a bit of a misnomer, since if you go into these films cold, the first hour’s worth of material are usually very human dramas. If the New Hollywood ever made monster movies, they would look a lot like Fessenden’s films. Utilizing that era’s “everything old is new again” approach to genre, he digs deep into what makes us human, particularly when confronted with the monstrous.

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Larry Fessenden isn’t done by any means, Glass Eye Pix is still going strong, and Fessenden will no doubt step behind the camera again in the near future, but as of right no,w he would be more than justified to sit back and look at a landscape that he has helped create. Fessenden’s legacy is ongoing, but of all of his contributions, his most notable might be offering the world films that brings humanity back to its monsters while making humanity itself look monstrous. Its Larry Fessenden’s world, and we’re lucky to be living in it.

Check it

Dread Central‘s Anthony Arrigo examines THE LARRY FESSENDEN COLLECTION.

“Fessenden is a man who makes deeply personal films, raw & full of emotion, with horror merely an undercurrent complicating already troubled lives. He fully embodies the auteur theory by writing, directing, editing and sometimes acting in his own films. And he’s actually a pretty decent actor, too. Everything seen on screen comes directly from his mind, with no compromises or studio interference. There’s a real sense of cinema verite to his work; his characters look and act like real people in real situations. This is personal, introspective filmmaking without pretense.”

Read on for the full review.

Attention NYC Fans! Glenn McQuaid’s I SELL THE DEAD screens Friday 11/6/15 and Saturday 11/7/15 at midnight at the IFC Center in NYC.

18th-century justice has finally caught up with grave robbers Arthur Blake (Dominic Monaghan) and Willie Grimes (Larry Fessenden). With the specter of the guillotine looming over him, young Blake confesses to a priest, Father Duffy (Ron Perlman), about his fifteen years of adventure in the resurrection trade; from his humble beginnings as a young boy stealing trinkets from corpses, to his partnership with seasoned ghoul Willie Grimes hunting creatures unwilling to accept their place in the ground. The colorful and peculiar history of Grimes and Blake is one filled with adventure, horror, and vicious professional competition that ends where it begins — the grave.

For tickets and more info, head over to IFC.