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    SXSW Trailer: Meet the “HOLY GHOST PEOPLE”

    Mitchell Altieri, one half of the Butcher Brothers (THE HAMILTONS, THE VIOLENT KIND) strikes out on his own with a tale of one terrifying church.

    HOLY GHOST PEOPLE finds nineteen year-old Charlotte and her enlisted backup Wayne searching for her sister within the Church of One Accord, a small sect deep in the Appalachian Mountains led by by “an enigmatic snake-handling preacher named Brother Billy, who’s devoted congregation of outcasts knowingly risk injury or death seeking salvation in the Holy Ghost. What Wayne and Charlotte uncover during their time on the mountain – about themselves and the nature of faith – will shake them to their core, as the mystery of Charlotte’s sister and her fate unravels…”

    What looks like it could be an intense, fanatic thriller will see its world premiere Sunday, March 10 at this year’s SXSW. If you’re attending, the full schedule for HOLY GHOST PEOPLE can be found right here.

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    Q&A: Eli Roth, producing “THE LAST EXORCISM PART II”

    This year, audiences awaiting the return of Eli Roth find an embarrassment of riches. On the directorial end, there’s both werewolf-in-a-steel town Netflix original series HEMLOCK GROVE and his Amazonian cannibal odyssey, THE GREEN INFERNO. The sometimes actor scripted and stars in Nicolas Lopez’s Chilean earthquake picture AFTERSHOCK and most relevantly, has lent a guiding hand to emerging talent, producing Ti West’s upcoming THE SACRAMENT and the sequel to one of the more undervalued of recent American genre films, THE LAST EXORCISM PART II (out March 1st). It’s this tale of Southern gothic that has Fango speaking to Roth about his own investment in continuing Nell Sweetzer’s story, how audiences approach foun footage, that which he’s never seen before in a possession film and what his producing legacy aims to be.

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    This Oscar weekend, watch “THE CABIN IN THE WOODS”

    Fully believing much of the Academy Awards serves as a posturing, self-congratulatory experience—as well as a ridiculous one, as this enlightening interview with an anonymous voter serves to highlight the fickle, ridiculous justifications for his choices—I also believe, and understand, there is an overt difference between a true snub and what I’d just really like to be awarded. This year, far under the categories most spend their time debating is a truly disappointing case of hard, marvelous work being overlooked.

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  • Artsploitation Films to tell “HORROR STORIES” with three new genre pickups

    As 2012 drew to a close and many looked forward with lists of the “most anticipated” variety, I found myself thinking what I was most interested to see in 2013 were the many pictures that would come with the continued growth of Artsploitation Films. New, but arriving with impression and style, the boutique distribution company has already run a gamut of Japanese gangs (HARD ROMANTICKER), wild Serbian youth (CLIP) and intensely engrossing, psychosexual sci-fi (VANISHING WAVES). They’ve just begun their dip into full-on horror though (recently nabbing the Chilean HIDDEN IN THE WOODS), and have given Fango the first word of three new international titles coming our way.

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