From Fango:

First up at 8pm ET is Larry Fessenden’s Glass Eye Pix classic, WENDIGO!
(FYI: This would make a great appetizer before Larry’s newest, BLACKOUT, hits screens!)

Next, we head north for the adventures of Officer Lou Garou
in the Candian creature/cop camp classic, WOLFCOP!

You’re not out of the woods yet – we wrap up our creature triple feature
with the found footage (Bigfootage?) Eduardo Sánchez film, EXISTS!

Starts TONIGHT at 8pm ET on Pluto.TV!

Hope your New Year’s celebration didn’t get out of hand!
Happy 2024!

Fessenden, Brenda Cooney and Dominic Monaghan bringing the ruckus on set of
Glenn McQuaid’s I SELL THE DEAD.

BLACKOUT written, directed, produced, edited by Fessenden
premiers at Fantasia Film Festival and lands distribution. Wins 3 awards during its festival run.
(best actor x 2, Alex Hurt; best makeup Gerner & Spears)

KILLERS OF THE FLOWER MOON by Martin Scorsese features Fessenden in the cast.

BROOKLYN 45 (Ted Geoghegan) featuring award-winning performance by Fessenden
lands on top “Best Horror Movies of 2023” lists

WHAT DOESN’T FLOAT (Luca Balser) opens in select theaters
with a 100% rating on Rotten Tomatoes (okay, just 6 reviews). Features Fessenden in the cast.

CRUMB CATCHER by Chris Skotchdopole premieres at Fantastic Fest
and picks up 2 awards (audience award, best ensemble) at Brooklyn Horror Fest.
a Glass Eye Pix production presented by Gigantic Pictures.

PRETTY UGLY The Story of the Lunachicks (Ilya Chaiken) premiers at DocNYC.
a Glass Eye Pix co-production

BLISS by Joe Maggio is premiering at Slamdance in 2024.
a Glass Eye Pix co-production

Also in 2023: Jack Fessenden’s FOXHOLE out on Blu-Ray
Wharton Tiers Ensemble releases album “23” featuring Fessenden on sax

Thanks to all the fans and supporters and collaborators that make this work possible.
In a brutal world unravelling,
ART MATTERS

Happy New Year and Good Luck in 2024

Fessenden as Hock on the set of Ted Geoghegan’s BROOKLYN ’45, Dec 2021.
This is the week in 1945 that the story takes place. Check it!

On the cover: Fessenden’s BLACKOUT with makeup by Gerner and Spears;
GEP alumn Jenn Wexler’s THE SACRIFICE GAME

From Fango:

After decades of game-changing work in horror, both as a writer/director and as the godfather of an entire indie genre movement, Larry Fessenden (Habit, Depraved) takes his rightful place on the cover of FANGORIA with his new werewolf thriller Blackout. Larry’s lycanthropic lead Alex Hurt (son of the late William Hurt) wolfs out for our newsstand cover, which hits shelves January 17.

To celebrate this genre legend’s macabre milestone (and a film we think audiences will love), we’ve sent Michael Gingold to the set of Blackout for an exclusive report. We’ve also got a moving tribute to Larry from his colleagues, via Fessenden’s friend and collaborator Barbara Crampton.

Elsewhere in the mag: Fessenden protege Jenn Wexler unleashes her sophomore feature The Sacrifice Game (starring Aladdin’s Mena Massoud); Fango faves the Adams Family deliver their Depression-era horror Where the Devil Roams; the regional slasher film (that bygone staple of the horror genre) returns in the form of Erik Bloomquist’s Founders Day; and we visit the set of the recently controversial It’s A Wonderful Knife.

It’s a packed issue, and 2024 is off to a grotesquely great start with 100 pages of horror’s best and bloodiest! FANGORIA #22 will be on sale at Barnes & Noble, specialty shops, or right here in Fango’s online shop.

From the catalog

Returning to his hometown after years of absence, the unexpected arrival of painter Charley (Alex Hurt, son of William Hurt) upsets the state of things by turning into a werewolf during a full moon. And from then, it’s not long until the bodies begin to pile up.

As recent successful genre offerings such as Werewolves Within (Josh Ruben, 2021) and The Cursed (Sean Ellis, 2021) prove, the werewolf genre is alive and kicking. In this modern-day variation, indie horror icon Larry Fessenden (Hollow Venus, IFFR 1990; Wendigo, IFFR 2002; The Last Winter, IFFR 2007) brings his very own mumblecore sensibility to the subject. Blackout is a clever exploration of small-town politics and family melodrama, offering keen observations on group dynamics without becoming didactic.

In the midst of the recent trend for art films masquerading as genre pieces, countless remakes, reboots and sequels of the meta-meta variety, Blackout comes like a breath of fresh air. While being a leisurely-paced matter-of-fact affair, the film finds time for stylistic flourishes such as Charley’s own transformational encounter with a werewolf which is presented as a charming animated sequence in the style of oil paintings. Most importantly, Fessenden knows, respects and visibly loves his material and its conventions.

– Stefan Borsos

The IFFR runs 25 Jan to 4 Feb, 2024