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. Enys Men is a different beast to Bait: more abstract, filmed in highly saturated colour and set in a landscape of eerie coastal moorland in the spring of 1973. The film’s star, other than Boswens, is an unnamed wildlife volunteer played by Mary Woodvine, Jenkin’s real-life partner and a familiar face in his other films. Every day, the volunteer stops to drop a stone into the murky depths of an abandoned tin mine (which I also visit en route to meet Jenkin, nearly falling off its gale-blasted foundations), then notes down her observations of a rare, curious flower growing nearby. 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. 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.

This cookie, set by YouTube, registers a unique ID to store data on what videos from YouTube the user has seen. The Duchy of Cornwall (1938, 15 mins): a rapid survey of early Cornish history looks at the county's language, landscape and industries 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.On-stage interview with Mark Jenkin and Mary Woodvine by film critic Mark Kermode at BFI Southbank (2022, 29 mins)

The BFI are set to release the British horror film, Enys Men (2022) on Blu-ray & DVD this May 2023 in the UK. In fact it’s a dual release which includes both formats. The retro ‘70s look and feel of Enys Men features popping reds and yellows, which Jenkin describes as ‘disturbing colours.’ Jenkin has a second preoccupation alongside his analogue sensibility: the landscape and culture of his native Cornwall. While Bait was a deeply modern tale of Cornish gentrification told with old technology, Enys Men reflects that same local interest but with stronger cohesion between the old filmic form and its period setting. This article needs an improved plot summary. Please help improve the plot summary. ( March 2023) ( Learn how and when to remove this template message) Enys Men is the much anticipated follow-up to Bait, Jenkin’s breakthrough success which earned him a BAFTA for Outstanding Debut by a British Writer, Director or Producer in 2020.Russell, Calum (11 January 2023). " 'Enys Men' Review: Mark Jenkin's meditative homegrown experience". Far Out . Retrieved 15 January 2023.

Jenkin’s style is so unusual, so unadorned, it feels almost like a manuscript culture of cinema. There is real artistry in it. On-stage Q&A Interview with Mark Jenkin & Mary Woodvine by Film Critic Mark Kermode at BFI Southbank (2022, 29 mins) a b Kiang, Jessica (27 May 2022). " 'Enys Men' Review: A Gorgeously Grainy Folk Horror Steeped in Style but Starved of Story". Variety.

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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. As we get older, we start to connect the landscape with the people who lived in it,” she says. “Give me a 2,000-year-old pot that they found down the road now and I’m fascinated. As a child, I didn’t care. I suppose we’re seeing ourselves where we used to be years ago, and where we are now, realising that we’re all going to become history, too.”

Love film and TV? Join BBC Culture Film and TV Club on Facebook, a community for cinephiles all over the world. 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." 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? Several more recent eerie films feel in tune with Jenkin's too. Ben Rivers' meditative Two Years at Sea (2012) shares some crossover thanks to its home-developed 16mm visuals and emptied landscapes (Rivers and Jenkin are sharing a stage at the BFI later this month to discuss their work), as do several experimental landscape films of recent years such as Gideon Koppel's Sleep Furiously (2008), Andrew Kötting's By Our Selves (2015) and Paul Wright's Arcadia (2017). Sitges' Universe Expands With New Titles From the Most Contemporary, Audacious Fantastic Genre". sitgesfilmfestival.com. 28 July 2022 . Retrieved 8 October 2023.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). In his essay The Weird and the Eerie (2016), the academic Mark Fisher defined eeriness as "constituted by a failure of absence or by a failure of presence". That is, for Fisher, the eerie "occurs either when there is something present where there should be nothing, or if there is nothing present when there should be something". Enys Men falls into the former camp, where the island should be absence made manifest, but instead provides spectres of class trauma breaking the volunteer's solitude. The local industry and its demise is the most unsettled ghost of the film. 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]