Enys Men is less easily classifiable, but it does contain elements of folk horror and is a ghost story of sorts.

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.Whether you're looking for the latest blockbuster release, a TV series you want to binge, or a classic film - you'll find what you need in our categories. Online since 2010 it is one of the fastest-growing and most respected music-related publications on the net. A short travelogue from 1938 taking us round the county, with many of the sights on display, including St Michael’s Mount and Tintagel, King Arthur (via ancient manuscripts) and those tin mines and fishing villages. Gradually, it becomes clear that, like Don’t Look Now director Nicolas Roeg, Jenkin is actually flashing backwards and forwards.

The film has been brought to Blu-ray by the British Film Institute in an excellent package with many thoughtful features. We will introduce you exclusively to Newpay finance products provided by NewDay Limited under this Introducer Appointed Representative arrangement.The flower which the Volunteer is studying begins to grow a strange lichen, which, she soon finds, is growing on her too. It doesn’t grip as Bait did either, but enigmas thread through it, incomplete codes which can’t be fully cracked. Extras on this BFI dual-format release include a Children’s Film Foundation film, Haunters of the Deep (1984), sharing West Cornwall locations and a haunted tin mine with Enys Men, and The Duchy of Cornwall (1938), a travel short evoking the county’s Mediterranean forebears, storm-lashed iron coast, wrestling rituals, tin mines and tourists. 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. Mark Jenkin and fellow filmmaker Peter Strickland have a discussion on the processes and use of film sound, moderated by the BFI’s Douglas Weir, which took place at the BFI Southbank in January 2023.

People – a man, a young woman, some girls singing (the Cornish-language song “Kan Me”, which is also performed by its composer, Gwenno, during the end credits) – appear without warning.This amount includes seller specified domestic postage charges as well as applicable international postage, dispatch, and other fees. Immediately, it’s apparent that Jenkin has embraced camera imperfections such as light flares at the side of the frame, and the gorgeous grainy texture suggests the 1970s perfectly – it’s set in 1973, which is perhaps coincidentally the year that The Wicker Man was released in Britain in a double bill with Don’t Look Now. Ian Berriman has been working for SFX – the world's leading sci-fi, fantasy and horror magazine – since March 2002. That said, he does talk a lot about the themes of the films, such as the coexistence of past and present and future, but some of the non-linearity is due to making use of what he had available when he came to edit the film.

She examines the flowers and logs notes in a journal: the temperature that day and the repeated observation ‘No Change’, but soon enough there will be something to report on.He picks out some influences and references in Enys Men, from Blood on Satan’s Claw to The Shout (shots of the Volunteer and the Boatman screaming) and those public information films which traumatised a generation of schoolchildren, and details some of the film’s time slippage: not only the radio announcement from the future mentioned above but also twenty-first-century music playing over that radio. People had detected horror elements in Bait and his earlier short Bronco’s House so he decided to make his own horror film.