Enys Men [DVD + Blu-ray]

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Before the song has finished, I suspect that it won’t be long before I’ll want to see Enys Men again too.

It seems that she is a botanist, as she measures the temperature of the earth around the cluster of flowers. Jenkin too has built his own time and space with self-described “seemingly crazy” antique techniques, limiting him to clockwork, 16mm film and post-synch sound. We see the patterned grille of a battered Dansette transistor radio in an almost abstract close-up, a rattling red generator located just outside the house and a jar of Seven Maids Dried Skimmed Milk, a fictional brand that foreshadows a strikingly odd scene later on.We use cookies to give you the best possible experience on our site, provide personalised content and advertising, analyse our traffic, and ensure you see more of what you love. Bait hit the hot topics of gentrification and second-homes, property imperialism which cost its fisherman protagonist his home and boat, finding an unsuspected, ready audience as Jenkin toured it to cinemas all around these isles, but particularly Cornwall. Most purchases from business sellers are protected by the Consumer Contract Regulations 2013 which give you the right to cancel the purchase within 14 days after the day you receive the item. Along with that, there’s Mary Woodvine as the volunteer, who spends most of the time using her body language, and she’s fantastic. Also in the film is Mary Woodvine’s father, John Woodvine, ninety-one years old at the time of production and five years after his previous screen appearance.

Pace is measured, even for a not-especially-long film as this, and to my mind after two viewings it is over-extended.Enys Men was released in UK cinemas by BFI Distribution on 13 January 2023 and recently opened in the USA via Neon.

Director’s Statement: When I was small we would visit the Merry Maidens, a stone circle not far from my Gran’s house in West Penwith. Shot by BAFTA winning visionary filmmaker Mark Jenkin ( Bait), on grainy 16mm colour film and employing his trademark post-synched sound. These images, formed at an impressionable age stayed with me, and some nights, even now, I find myself lying awake, wondering about those stones. A self-navigating gallery of nine production stills, including some of Jenkin with his camera, and ten film stills. The transfer has plenty of grain, as you would expect from its 16mm origins, and some of the colours, reds especially do pop, due to stopping the camera down and pushing the film during processing.The LP comes housed in a spined sleeve printed on beautiful reverse board, with double sided printed insert and download card. Filmed on location around the disused tin mines of West Penwith, it is also an ode to Cornwall’s rich folklore and natural beauty. 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.

She finds a rare flower growing and begins to focus on its growth, but as she does she begins a mysterious and metaphysical experience where differentiating between real and hallucination becomes impossible. It doesn’t grip as Bait did either, but enigmas thread through it, incomplete codes which can’t be fully cracked. Enys Men is less easily classifiable, but it does contain elements of folk horror and is a ghost story of sorts. The BFI have released several Children’s Film Foundation short features, and short shorts as well, on DVD, including so far four Bumper Box sets ( volumes 3 and 4 reviewed by me for this site).Ian Berriman has been working for SFX – the world's leading sci-fi, fantasy and horror magazine – since March 2002. Online since 2010 it is one of the fastest-growing and most respected music-related publications on the net. 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. What might they be up to, under cover of darkness, out there on their own, on the moor, with no-one watching. As that subtitle indicates, this is in eleven subsections and Fowler tackles the films use of folk-horror elements but also its subversion of our expectations and its breakdown of a conventional narrative.