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    Blood Window hosts Cannes Midnight Galas; to Screen “THE INCIDENT” & “DARKNESS BY DAY”

    Blood Window, the genre film market section of Argentina’s Ventana Sur, is teaming with the world’s top fantastic film festivals for a slate of Blood Window Midnight Galas this May in Cannes. Dedicated to the continuing growth and development of Latin American genre film, and with support from Austin’s Fantastic Fest, the famed Sitges Film Festival, Puchon International Fantastic Film Festival, and the Frontieres Co-Production Market, which is a venture from Montreal’s Fantasia, as well as Brussels International Fantastic Film Festival and Vision-in-Motion, Blood Window will give the Croisette the first looks at Isaac Ezban’s THE INCIDENT from Mexico, Santiago Salvarado’s FALLEN CAPE from Spain, Martin Desalvo’s DARKNESS BY DAY from Argentina and more.

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  • New York! “BLUE RUIN” screens tonight with Filmmaker Q&A!

    Jeremy Saulnier’s long-awaited follow-up to MURDER PARTY, BLUE RUIN, is a straightforward and emotionally and viscerally impacting little revenge picture that’s on its way to being one of the most acclaimed films of the season. Now out in limited release, BLUE RUIN has enjoyed a weekend of special event screenings at Brooklyn’s Nitehawk Cinema where Saulnier and star Macon Blair have joined audiences for Q&A’s. If you’ve yet to see this fantastic film however, the fun isn’t over yet. Saulnier and Blair return to Nitehawk tonight (April 28) where the Q&A will be moderated by our own Samuel Zimmerman.

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    Report: The Stanley Film Festival, an Essential Horror Retreat

    Traveling to the Stanley Hotel is already something of a pilgrimage. The historic lodge, built in 1909 and famous for its spectral activity, looms over Estes Park, CO, surrounded by stunning, natural but also otherworldly landscape. Then of course, there’s the fact that it was a catalyst in the mind of Stephen King; his own stay there inspired THE SHINING, one of the most seminal works of horror there is. Lucky for us then, The Stanley Hotel, the Denver Film Society and programmers Michael Lerman and Landon Zakheim have enhanced the inherent aura of the locale with the Stanley Film Festival. A weekend-long celebration of genre in all its forms, which wrapped its second edition over the course of April 24-27, is quickly establishing itself not only as a perfect horror vacation, but as growing into a vital horror retreat—an essential destination for all those who worship at the altar of the macabre.

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    Lost in the Catacombs; “AS ABOVE, SO BELOW” Trailer Debuts

    The Dowdle brothers, who previously brought horror fans THE POUGHKEEPSIE TAPES, QUARANTINE and DEVIL return to the POV aesthetic of the former two with AS ABOVE, SO BELOW. A descent into the historical Paris catacombs, which contain the remains of millions, the film aims to trap its ensemble with more than just bones, but their own closet skeleteons as well. 

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    Five Must-Sees of The Stanley Film Festival 2014

    This weekend, FANGORIA embarks on a spooky sojourn to the Stanley Hotel, a historic Colorado lodge infamous for hauntings and its tight association with Stephen King’s THE SHINING. There, midst gorgeous landscape, ghost hunts and genuine otherworldly atmosphere, the second edition of the Stanley Film Festival will be underway. A celebration of the macabre in all forms, from film to theatre to how it informs our lives, The Stanley boasts a truly stellar lineup of events. So thrilling is its itinerary, it seems a simple weekend makes for hard choices. Allow me to be so bold then, to make the dilemmas a little less difficult and recommend five aspects of the festival you shouldn’t miss.

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    Jason Blum talks “OCULUS”; Film Closes Scotland’s Dead by Dawn

    Now out in wide release stateside, Mike Flanagan’s haunting, destabilizing OCULUS (of which Fango heartily recommends) makes its way to Scotland this week as part of the annual Dead by Dawn International Horror Film Festival. Closing a stellar lineup that includes William Castle greats, CANDYMAN, New Zealand surprise HOUSEBOUND and more, OCULUS is sure to finish the weekend with more than a few hairs raised. Prior to its U.S. bow, Fango spoke to horror producer extraordinaire Jason Blum, who’s built a mini-empire of low budget, high earning scare fare. Fairly unusual in his filmography for being completed before Blum came aboard, the always candid filmmaker brought his usual energy and optimism for his upcoming slate—including THE PURGE 2—to our chat.

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    Jason Gets Positive in New Menzingers Video

    Currently signed to the long-standing and legendary Epitaph Records, The Menzingers are a no-frills punk band from Pennsylvania currently garnering plenty of well-deserved acclaim. With a new record, RENTED WORLD, out this week, the band has debuted a legitimately hilarious video for first single, “I Don’t Want to be An Asshole Anymore.” Applying the song’s title to horror icon Jason Voorhees, the video finds the hockey-masked maniac giving optimism, tenderness and instagram a shot.

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    First, Intriguing Images: Ryan Gosling’s Feature Debut, “LOST RIVER”

    Announced as an official selection in the 2014 Cannes Film Festival Lineup, the curious excitement surrounding actor Ryan Gosling’s directorial debut LOST RIVER (previously, HOW TO CATCH A MONSTER) builds. Billed as something of a dark fantasty, horror noir, FANGORIA took extra notice of the film when Gosling made a bold, thrilling choice to cast the great Barbara Steele. Now, the film’s first images are certainly something to inspect.

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    “THE CANAL” (Tribeca Movie Review)

    THE CANAL begins. David addresses the camera directly (us). Within the film however, he’s speaking to an audience of children. As a cinema archivist, David is attempting to convey the importance of what these schoolchildren are about to witness. Introducing footage from the early 1900s, he tells them they’ll see ghosts, that everyone onscreen is now dead. To the viewer, it’s foreshadowing yes, but something more. Writer-director Ivan Kavanagh is engaging the dread in inevitability, as well as—through David’s profession and a host of unmistakable horror references to come—why we tell domestic horror stories: they keep occurring.

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