Glass Eye Pix Larry Fessenden Retrospective at the Museum of Modern Art in New York

The careers of Larry Fessenden and Glass Eye Pix, names synonymous with independent genre films, will be celebrated at MoMA (The Museum of Modern Art) from late March through April 19. A champion of independent horror cinema for 37 years now, we’ve long been fans of Fessenden’s films and the directors he brought into the Glass Eye Pix fold during this era.

The retrospective will present a series of 26 feature films, films made by artists like Ti West, Jim Mickle, Jenn Wexler, Ana Asensio, Mickey Keating, Graham Reznick and Glenn McQuaid. Films directed by Fessenden and his son, Jack, will also be part of the retrospective. Jack’s second film, Foxhole, will have its New York premier during the showcase.

Tickets are on sale here. There will also be virtual events for MoMA members.
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Glass Eye Pix, the New York independent producer led by art-horror author Larry Fessenden, is pleased to announce that a retrospective of 26 feature films as well as numerous shorts, animations and early works created over the of its 37 years of activity, is being presented by the Museum of Modern Art (MoMA) from March 30 to April 19. The film series will be hosted by Fessenden and many directors who have been on the Glass Eye Pix mission to support “individual voices in the arts.”

Fessenden will unroll all the feature films he has directed: Nothing to say, HabitWendigo, the last winter, Underand Depraved, each of which grapples with the intersection between horror, societal breakdown, and self-betrayal. Fessenden’s films of the 90s pioneered the idea of ​​”personal” horror that is now a staple of the genre.

In addition to the work of Fessenden, the retrospective will present works by famous directors Kelly Reichardt (grass river, Wendy and Lucia), Ti West (the perch, The Devil’s House, Innkeepers), Rick Alverson (The comedy), and Jim Mickle (Stake land), all of whom made first or second films in the production company with Fessenden producing, exemplifying the mentorship that defined Glass Eye Pix. Films by promising auteur films will also be screened, including Ana Asensio’s award-winning film The most beautiful islandJenn Wexler the forest rangerby Rob Mockler Like meby Mickey Keating DarlingIlya Chaiken child of freedomby Joe Maggio bitter partyGlenn McQuaid I sell the deadthe hallucinatory I see you by Graham Reznick and the extremely experimental B&W-s8mm-Sci-Fi-futuristic-Robot-movie Automata by James Felix McKenney.

A highlight of the series will be the April 2 New York premiere of Fessenden’s son’s latest Glass Eye Pix film: foxhole by Jack Fessenden. Set over a 36-hour period in three separate wars – the American Civil War, World War I and Iraq – Foxhole follows a small group of soldiers trapped in a confined space as they grapple with morality, futility and an increasingly volatile combat situation. The film is notable for its structure, but also for its focus on classic themes of honor, sacrifice, camaraderie, and cowardice. foxhole is the follow function after Lost bullets (2016, also playing at MoMA) by young Fessenden, who was 19 when filming took place in August 2019.

In addition to theatrical fare, the retrospective will also feature an online program featuring the works of longtime Glass Eye Pix collaborator Beck Underwood, whose animated shorts will delight connoisseurs of the macabre sweet Brothers Quay and Jan Švankmajer. Underwood will present various films, including there in spirit, An exquisite task, Perfectly perfectas well as Uncle Ben, produced in collaboration with artist Melissa Stern. Also on the program, a selection of short films from the Creepy Christmas Film Festival organized by Underwood: Glenn McQuaid’s Inflated archiveby Larry Fessenden wild ride and Merrill (with Maud, Sam and Gareth) Rauch’s Memory.

The online program also features two behind-the-scenes documentaries on the making of the Glass Eye films. Nothing to say and Lost bullets as well as two feature documentaries produced by the company: one by Matt Kliegman entitled Markie in Milwaukee, a deeply moving portrait of a Midwestern evangelical preacher contemplating a transition from Mark to Markie; and Birth of the Living Deada historical documentary by Rob Kuhns on the making of George Romero’s seminal zombie image night of the living dead. Also available online: the ambitious hand-drawn animated short film by Glass Eye contributor James Siewert, titled The Past Inside The Present. And there are other unexpected shorts and oddities from the archives: 70s s8mm films from Fessenden, collaborations with performance artists David “The Impact Addict” Leslie, and an 80s featurette made with performer Heather Woodbury called Hollow Venus; Diary of a Go-Go Dancer.

Fessenden said of the program, “I am honored to have our film collection recognized by such a venerable institution as MoMA. Although my name appears in the title of this retrospective, it is actually a celebration of all the artisans who have worked under the Glass Eye banner over the years: fellow producers, crew members, actors, sound designers, graphic designers. and of course the directors and writers, many of whom have collaborated on more than one project and in different capacities, in different roles, telling original stories that are personal and vital across many disparate genres and mediums, created under one production with the philosophy that art matters. It means a lot that our little corner of showbiz is enjoying a brief moment in the spotlight.

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