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INTERVIEW: Jenna Kanell Talks Unhinged, Self-Reflexive Shocker ‘FACELESS AFTER DARK’

Dark Sky Films and MPI Media Group will release Raymond Wood‘s (1st Summoning) wild and gory shocker, Faceless After Dark in select theaters and digital platforms this coming Friday, May 17th.

Directed by Wood and co-written & starring Jenna Kanell (Terrifier franchise, Renfield, Bad Boys: Ride or Die), the film follows Bowie (Kanell), a rising star who shot to fame as the lead actress in a popular slasher film featuring a murderous clown. Riding high off her breakout performance, Bowie struggles to leverage her newfound celebrity into more substantial roles. However, her fortunes take a twisted turn when a deranged fan impersonating the same sinister clown from her claim-to-fame kidnaps her. Trapped and isolated, Bowie confronts the harsh realities of her chosen profession, as she is forced to endure the deranged motivations of the very audience that elevated her star. As the clock ticks down, Bowie must turn the tables on her psychotic fan before the cameras roll on a final act she never signed up for.

Co-starring alongside Kannel are Danny Kang (“Insatiable,” “NCIS Hawai’i”), Danielle Lyn (“Mayfair Witches,” “Single Drunk Female”), Max Calder (“Stranger Things,” Jungle Cruise), Michael Aaron Milligan (“Outer Banks,” “The Purge”), Kathrine Barnes (“Average Joe,” “Queer as Folk”), Jason MacDonald (“The Vampire Diaries,” “NCIS”), Israel Vaughn (“The Righteous Gemstones”). The film was also co-written by Todd Jacobs (Dead by Midnight (Y2Kill)).

In anticipation of the film releasing in select theaters and on digital platforms this Friday, CinemaChords’ Ashley Northey sat down with Kanell who revealed how her pitch for the film was “What if Travis Bickle from Taxi Driver were the protagonist of Promising Young Woman?”, how the idea of running away from clowns for a lifetime wasn’t super enticing at first, how the film is a reflection of responding to outside pressures in the world, and David Bowie’s impact as an artist and how he subverted gender and gender performance and the way in which he had ideas about how he was going to show up as an artist.

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