Enys Men

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Speaking on The Film Makers Podcast podcast earlier this month, Jenkin shared the story of how his approach to film-making was born out of his re-found love of the craft. He started at sixth form college in the ’80s, developing stills photography, then shooting on Super8 in the 90s, before later becoming disillusioned. During a period recuperating after a minor operation, he watched and rewatched Mark Cousins’ 15-episode 2011 documentary, The Story of Film: An Odyssey. “I bought a Super 8 camera and a roll of film and retraced my steps.” Kingsley Marshall, head of Film & Television at Falmouth, who worked as an executive producer of the film, describes the impact for students: “The Sound/Image Cinema Lab embeds real experiences for students into their time at the university. It helps that many of our partners work with students in the university, and Mark and Denzil are no exception – totally integrating the students into their crew and helping them build their confidence in the practical application of filmmaking. Mark Jenkin is based in a studio in Newlyn, West Cornwall where he writes, edits and scores his films himself. His debut feature Bait was released in the UK by BFI Distribution, becoming an arthouse hit, eventually screening at hundreds of cinemas and taking over half a million at the UK box office. Mark Jenkin and his producers, Linn Waite and Kate Byers, won the BAFTA for outstanding debut by a writer, producer or director. When considering the DNA of Enys Men, it’s maybe predictable that many of the films that made it onto the following list are drawn from the 70s – the decade in which the film is grounded. Inevitably, when thinking of this era in Britain, a number of entries on the list are not in fact films at all, but highly innovative, haunting, weird or eerie, productions made for the small screen. Some of them are free-form, others experimental or oblique, yet all are uncompromisingly authored. First pressing only*** illustrated booklet with a Director’s Statement; essays by Tara Judah, Rob Young, William Fowler and Jason Wood; credits and notes on the special features

The retro ‘70s look and feel of Enys Men features popping reds and yellows, which Jenkin describes as ‘disturbing colours.’ Enys Men, the new feature from visionary Cornish filmmaker Mark Jenkin, to be released by the BFI on 13 January 2023". bfi.co.uk . Retrieved 8 October 2023. Lichen appears on one of the flowers and then spreads to places you would not easily imagine. People begin to appear without any explanation. The woman looks into a bedroom and is unsurprised to see a dark-haired girl (played by Flo Crowe) sleeping there. Who is she? A younger version of herself? Her daughter? A hallucination? A ghost? Mark Jenkin isn’t a director with any inclination to spoonfeed audiences what to think.On her way home she passes a single Neolithic standing stone that’s around 10-foot high. It sometimes resembles a hooded woman when seen from a distance. The ivy covered dilapidated house where this woman is living is nearby. She will never be named and is credited only as ‘The Volunteer’ and she’s played by Mary Woodvine, the partner of writer/director Mark Jenkin (who also composed and performed a very atmospheric, Eno-esque ambient score using an analogue synthesizer and a tape loop).

On-stage interview with Mark Jenkin and Mary Woodvine by film critic Mark Kermode at BFI Southbank (2022, 29 mins) Haunters of the Deep (1984, 61 mins): a Children’s Film Foundation adventure that shares many West Cornwall locations with Enys Men, and made quite an impression on Mark Jenkin Trewhela, Lee (1 December 2022). "Enys Men: Cornwall director Mark 'Bait' Jenkin's new film gets early screenings in the South West". Cornwall Live . Retrieved 15 January 2023. The Duchy of Cornwall (1938, 15 mins): the strange beauty of Cornwall resonates through this iconic film from the vaults of the BFI National ArchiveRussell, Calum (11 January 2023). " 'Enys Men' Review: Mark Jenkin's meditative homegrown experience". Far Out . Retrieved 15 January 2023. Mary Woodvine mesmerises in Mark Jenkin’s superbly haunting Cornish gem.” – Mark Kermode, Kermode & Mayo’s Take A wildlife volunteer’s (Mary Woodvine) daily observations of a rare flower take a dark turn into the strange and metaphysical, forcing both her and viewers to question what is real and what is nightmare. Is the landscape not only alive but sentient? Her life is quiet, punctuated by the occasional scratchy rumblings of a radio and the starter cord motor for her petrol generator, on which she is dependent for power. At bedtime she reads an environmental manifesto, Blueprint for Survival. Her relationship with Boswens is strange; the volunteer seems alone – but is she? Sitges' Universe Expands With New Titles From the Most Contemporary, Audacious Fantastic Genre". sitgesfilmfestival.com. 28 July 2022 . Retrieved 8 October 2023.

BBC Culture spoke to Jenkin about his new film and the preoccupations of his work. "I was a rural kid," he suggests when asked of his influences, "and I suppose I always seemed to be attracted to the dark side of things, a desire to be a bit scared, but to also look at the flip side of the idyll. Part of that is a reaction against the way that Cornwall is idealised and romanticised." Records the default button state of the corresponding category & the status of CCPA. It works only in coordination with the primary cookie. Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. Enys Men premiered in the Directors' Fortnight section of the 2022 Cannes Film Festival. [1] [4] [6] [7] [8] In Bodmin, the film's opening night sold out within hours, and the film was a box office success for cinemas across Cornwall. [5] Jenkin's film is a perfect, anti-romantic expression of Cornish eeriness. "There is certainly a level of abstraction that comes from shooting small-gauge film," he says of his trusty Bolex 16mm camera, "but most of the eerie comes later in the process, [in] how the images bump up against each other and most importantly how the sound works with, and against, the image.”This article needs an improved plot summary. Please help improve the plot summary. ( March 2023) ( Learn how and when to remove this template message) These visions are eerie not simply because they are derived from the rural landscape but because they only intimate their presence; they are glimpsed terrors. The eerie resists revealing its horrors head on. "The mood of the eerie is lingering," Soar believes, "a sensation that is hard to shake off. The eerie doesn't deal in jump scares, but involves a nagging, troubling sense of doubt and uncertainty that colours all activities."