Anchor Bay Entertainment proudly announces the launch of Anchor Bay UnDISCovered, a new sub-label devoted to spotlighting bold, independent films that never received the attention they deserved. Focused on titles that were either lost in the shuffle of limited release, or never saw proper distribution, UnDISCovered is dedicated to reviving powerful, personal cinema and introducing it to wider audiences.
The first wave of releases under the UnDISCovered banner features four under-the-radar films from two distinctive and uncompromising filmmakers: Dean Dempsey and Joe Black.
“With UnDISCovered, we’re creating space for films that have all the heart, soul, and creativity of critically celebrated indies—but lacked the platform to connect with an audience,” said Thomas Zambeck, CEO of Anchor Bay Entertainment.
Dean Dempsey is a multidisciplinary artist and filmmaker whose work spans photography, painting, video, and narrative cinema. Born in Tucson, Arizona, in 1986, he earned his BFA from the San Francisco Art Institute and studied at Chelsea College of Art and Design in London. Now based in New York City, Dempsey has exhibited internationally, with his work featured in institutions such as the Museum of the Moving Image and Munich’s Pasinger Fabrik.
First from Dempsey comes Candy Apple (2015): a gritty, semi-autobiographical dark comedy set in the underbelly of New York City. The film follows a father and son navigating addiction, artistic ambition, and the harsh realities of urban life. Notably, Dempsey cast his real-life father, Texas Trash, a double-amputee and former punk musician, in the paternal role. The film’s raw portrayal of marginalized characters and its unflinching look at personal demons earned it the NY Perspectives Award at the Winter Film Awards.
Also from Dempsey is Deadman’s Barstool (2018). Co-written with comedian Greg Mania, the film is a darkly funny murder mystery set in a seedy dive bar. The film satirizes televangelism and features a cast of morally ambiguous characters, each with their own ulterior motives.
Joe Black is an independent filmmaker known to the LA underground through his distinctive blend of surrealism, dark humor, and genre subversion. Operating primarily under his production company, Blue Means Pregnant Films, Black has carved out a niche in the indie film scene with his unconventional storytelling and unique visual style.
In the tradition of 1971’s Zachariah, Hate Horses (2017) bills itself as the “second electric Western ever made.” It is a surreal road movie that follows a young burlesque singer who, after discovering a mystical keyboard, teams up with a wounded bank robber and his neurotic hostage. Together, they embark on a journey filled with bizarre encounters and existential musings. The film features Black in the lead role, with notable supporting performances from Dominique Swain and Paul Dooley.
Showing diversity in his approach, The Yellow Bellies (2013) is Black’s ode to punk rock cinema. The story revolves around a fictional all-girl rock band, facing personal issues as they prepare for a performance at their local bar. Set in real time, the band members get into quarrels with each other and their significant others as they prepare to take the stage.
“These first four titles exemplify how originality and raw storytelling transcend time,” Zambeck continues. “We’re proud to give these films from Dean and Joe the proper spotlight, proving that great cinema isn’t limited by release schedules or box office numbers.”
Anchor Bay UnDISCovered will debut these four titles in fall of 2025, with limited theatrical screenings, digital and physical releases, and filmmaker Q&As planned as part of a special launch showcase.
Get more info on the official Anchor Bay UnDISCovered website.
