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    Mary Harron, Jennifer Lynch and More for All Female-Directed Anthology, “XX’

    The resurgence of anthologies has undoubtedly added a great sense of fun to contemporary genre, joining  mediums and international filmmakers for all manner of macabre. It’s also highlighted what can be a boys’ club nature of horror, leaving many to find misogynistic tones and asking where the female filmmakers are? Of course, that doesn’t mean there’s a lack of horror-focused women—some of just 2013’s best genre films including VANISHING WAVES, KISS OF THE DAMNED, DARK TOUCH, AMERICAN MARY and fest film SHE WOLF were helmed by such—but the new, Dark Sky and XYZ-produced anthology XX aims to bring a host of of them together. And the lineup they’ve garnered is something to be thrilled about. 

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    [Night Visions '13] AJ Annila talks “WE ARE WHAT WE ARE” Prequel, “NUMBER 13″ & More

    As we recently noted in our report on Helsinki’s Night Visions Festival (see our report here and their list of prizewinners here), genre film production is ramping up in Finland in recent years. One of the directors leading the charge is Anti-Jussi Annila (AJ Annila) whose JADE WARRIOR (2006) – a Wuxia-infused take on Finland’s Kalevala epic – and gruesome, pitch-black period horror SAUNA (2008) established him as a filmmaker with a grand-scale, visionary approach to the genre.

    Aside from prepping a spring shoot for the WE ARE WHAT WE ARE prequel WHAT WE WERE, Annila is at the AFM this week pitching his admitted “dream project” NUMBER 13 (formerly called HUMAN) and is also in development on a third Scandinavian crime thriller, DON’T COME AFTER ME. Here FANGO talks to Annila about what the immediate future has in store for fans of Nordic horror.

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    “ALL HALLOWS’ EVE” (DVD Review)

    Constructed of footage shot as far back as 2004 on a variety of different mediums and cameras, ALL HALLOWS’ EVE (now on DVD and VOD from Image Entertainment) is an anthology film showcasing the work of writer/director Damien Leone. Despite often feeling without purpose aside from being a potentially entertaining dark accompaniment to drug use, ALL HALLOWS’ EVE is kind of awesome. At just 80 minutes, it never really has the time to become boring, and Leone and his crew have been productive; there’s an impressive amount of weird happening in this little Frankenstein monster of a movie.

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    Can you handle what 1979 couldn’t? New clips from ” THE VISITOR” re-release

    In the midst of crafting a truly special slate of contemporary, pushing world cinema and truly wild repertory titles, Drafthouse Films is unleashing a re-release Michael J. Paradise’s mind-altering THE VISITOR. A film powerful enough to unite demonic children, a cosmic Christ, John Huston, Sam Peckinpah and Shelley Winters, it is something nigh indescribable. Good thing a host of new clips are available.

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    Special Announcement: FANGORIA Brings Holiday Horror Classic “SILENT NIGHT, DEADLY NIGHT” Back to the Big Screen this December!

    FANGORIA, together with Screenvision and Brainstorm Media, are thrilled to announce the re-release of the controversial, ultra-bloody anti-Holiday slasher favorite SILENT NIGHT, DEADLY NIGHT, opening wide across the country in theaters everywhere!

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    “CONTRACTED”: Sex = Death, A Q&A with Director Eric England

    In writer/director Eric England’s disturbing CONTRACTED, STD not only stands for Sexual Transmitted Disease but also Something Totally Deadly. In the IFCMidnight release, which makes its East Coast premiere November 17 at the New York City Horror Film Festival at Tribeca Cinemas (54 Varick Street), Samantha (Najarra Townsend) has a drunken one-night stand with a guy she meets at a party and soon begins suffering from a horribly disfiguring illness. Director England, who previously helmed the indie fave MADISONCOUNTY and a segment in Chiller’s CHILLING VISIONS: FIVE SENSES OF FEAR, gave Fango the scoop on his squirm-inducing shocker.

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    R.I.P. Ted Rusoff (1939-2013)

    Born in 1939 in Winnipeg City of Manitoba, Canada, Ted Rusoff wasthe son of screenwriter Lou Rusoff and nephew of AIP producer Samuel Z. Arkoff, who got him his teenaged start working as an onset production assistant for AIP and uncredited film extra where needed in the late 50s to early 60s. Being proficient in French, Italian and German as well as English, he was sent to Europe in the mid- 60s to oversee the voice dubbing for various European film exports, primarily for the English-speaking markets, where AIP held the distribution rights.

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