Enys Men [DVD + Blu-ray]

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FIRST PRESSING ONLY** Fully illustrated booklet featuring new writing on the film by William Fowler and Jason Wood among others The retro ‘70s look and feel of Enys Men features popping reds and yellows, which Jenkin describes as ‘disturbing colours.’ 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. As identified by Macfarlane and others, the eerie acts as a kind of counter-tradition to the romantic Pastoralism of English art; rather than portraying the English countryside as a place of chocolate-box fantasy, it has often zoned in on specific rural localities and tried to convey their haunted essences that are beyond the understanding of urbanite considerations.

The Shining is also possibly referenced as well as the subgenre of body horror – although this element is never as nightmarish as some of the grotesquery glimpsed in David Cronenberg’s more extreme productions. FIRST PRESSING ONLY** Fully illustrated booklet featuring new essays by Rob Young, Tara Judah, Jason Wood and William Fowler My filmmaking is an ongoing attempt to make sense of the world and specifically the little bit of it where I happen to live," Jenkin concludes. "I have a continuing obsession with making significant the seemingly insignificant simply by filming it." Yet, Fisher’s own conclusions suggest that to make sense of the world through the eerie is ultimately an impossibility as it "concerns the unknown; when knowledge is achieved, the eerie disappears". Enys Men is written and directed by Mark Jenkin. It stars Mary Woodvine, Edward Rowe, Flo Crowe and John Woodvine.Here, Jenkin provides us with an extensive list of folk horror, television oddities, eerie children's movies and experimental shorts.

Scovell, Adam (12 January 2023). "Enys Men: The films that frighten us in unexplainable ways". BBC Culture . Retrieved 15 January 2023. Most edit decisions were made on the shoot. “It has to be then because that’s when everyone’ s creative energy is focused – during the shoot,” says Jenkin on The Film Makers Podcast. On the odd occasion when they hadn’t captured footage to plan, he was forced to go into improvisation mode in post-production. Russell, Calum (11 January 2023). " 'Enys Men' Review: Mark Jenkin's meditative homegrown experience". Far Out . Retrieved 15 January 2023. 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 featuresSome of my choices are linked to Enys Men through form, others by content; but in most cases, hopefully by a bit of both. After all, the greatest films mesh the two in a way that makes it hard to tell where one starts and the other finishes. Acclaimed independent Cornish horror feature Enys Men, from film-maker Mark Jenkin, was released earlier this month by the BFI. The low budget film was made using Jenkin’s unique workflow and is a masterclass in how to incorporate university learning into hands-on film-making. Enys Men" unfurls itself slowly, beginning as a quiet meditation on a researcher's lonesome study of nature, before slowly descending into a nightmare world where the natural landscape, figments of the researcher's imagination and/or individuals from her past (including a young woman who obliquely appears alongside her, possibly a younger version of herself), and spectral figures connected to the island's history (miners, doomed mariners, and a priest) all collide into a perverse tapestry. Even milkmaids on a tin canister of dried milk in the kitchen come to life here. Mark Kermode, reviewing for The Guardian, gave the film five stars calling it "a richly authentic portrait of Cornwall" and saying Woodvine's performance was "quietly mesmerising". [12] Adam Scovell, writing for BBC Culture, said that the film was "a perfect, anti-romantic expression of Cornish eeriness". [13] On-stage Q&A interview with Mark Jenkin and Mary Woodvine by film critic Mark Kermode at BFI Southbank (2022)

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.” The film was promoted bilingually, with posters being produced in both English and Cornish. [9] [10] It was thought to be the first instance of a distributed feature film having Cornish posters. [9] Reception [ edit ] Critical [ edit ]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.” 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. Haunters of the Deep (1984, 61 mins): a Children’s Film Foundation adventure that shares many of the same West Cornwall locations as Enys Men, and made quite an impression on its director This article needs an improved plot summary. Please help improve the plot summary. ( March 2023) ( Learn how and when to remove this template message)

Shot by BAFTA winning visionary filmmaker Mark Jenkin ( Bait), on grainy 16mm colour film and employing his trademark post-synched sound. Enys Men (pronounced ‘Mayne’) is technically innovative yet eerily evocative of the period it inhabits. Filmed on location around the disused tin mines of West Penwith, it is also an enigmatic ode to Cornwall’s rich traditions of folklore and the region’s rugged natural beauty. She treks across a moor in a small island off the far west coast of Cornwall called Enys Men (pronounced ‘Ennis Main’ in Cornish and translated as ‘Stone Island’). On-stage interview with Mark Jenkin and Mary Woodvine by film critic Mark Kermode at BFI Southbank (2022, 29 mins) Set in 1973, unfolds atmospherically on an unpopulated island off the Cornish coast. There, a single volunteer ( Mary Woodvine) recording data on an unfamiliar flower finds her lonely daily observations turning troublingly towards the strange and metaphysical, forcing her to question what is real and what is nightmare. Is the barren landscape not just alive… but also sentient?

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Enys Men is shot in colour of a fierce, rich sort, and looks as if it was made in the year it is set: 1973. It is not exactly a horror film, despite some spasms of disquiet, but an uncanny evocation of how, when left utterly on our own, we spiral inwards into our memories, dreams and fears. Mary Woodvine (who was the well-off second-home owner in Bait) plays a woman living on a remote Cornish island, in a simple cottage whose future condition of moss-covered dereliction she appears to foretell or hallucinate. She is apparently researching the state of some wildflowers at the cliff-edge, every day inspecting their condition and taking their soil temperature, and solemnly recording the unvarying results in pencil in a ledger. 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 Mary Woodvine mesmerises in Mark Jenkin’s superbly haunting Cornish gem.” – Mark Kermode, Kermode & Mayo’s Take 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." Enys Men" doesn't explain itself. This may be frustrating for some. I found it compelling, not just stylistically but emotionally. It called to mind, on some level, Chantal Akerman's "Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles," in its devotion to repetition, in its patience in noticing small changes, in breaking down the routine into something strange, even threatening. There's tension in the monotony. When change comes, it drops from the sky like a menacing anvil.