{"id":1905036,"date":"2026-04-27T12:09:00","date_gmt":"2026-04-27T09:09:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1905036"},"modified":"2026-04-27T12:09:00","modified_gmt":"2026-04-27T09:09:00","slug":"inside-rose-of-nevada-the-film-making-british-cinema-weird-again","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1905036","title":{"rendered":"Inside Rose of Nevada, the film making British cinema weird again"},"content":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/images-prod.dazeddigital.com\/1200\/515-415-1912-1275\/azure\/dazed-prod\/1440\/4\/1444058.jpg&#8221;]<\/p>\n<article class=\"main-article standard \">\n<div class=\"article-main-content article-wrapper has-media-but-its-an-image\" data-status=\"loaded\" data-primary-article=\"true\" data-url=\"\/film-tv\/article\/70149\/1\/rose-of-nevada-is-a-lynchian-nightmare-with-callum-turner-and-george-mackay\" data-article-id=\"70149\">\n<header class=\"article-header has-landscape-image no-media\">\n<div class=\"wrapper dg-max-width\">\n<div class=\"inner\">\n<figure class=\"main-img has-figcaption\" data-img-aspect-ratio-type=\"landscape\" data-img-aspect-ratio=\"1.5\" data-template=\"Standard Article\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"ROSE OF NEVADA_036_Courtesy Bosena_Photo by Steve \" class=\"img\" height=\"2000\" src=\"https:\/\/images-prod.dazeddigital.com\/1400\/azure\/dazed-prod\/1440\/4\/1444058.jpg\" width=\"3000\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"inner\"><span class=\"credit\">Courtesy Bosena, Photography <span class=\"nowrap\">Steve Tanner<\/span><\/span><\/span><\/figcaption><\/figure>\n<aside class=\"meta\">\n<div class=\"inner\"><time datetime=\"2026-04-27T12:09:00+00:00\" class=\"timestamp\" title=\"27 April 2026\"><span class=\"month\">April<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"27\">27,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/div>\n<\/aside>\n<div class=\"titles\">\n<div class=\"tags\">\n<div class=\"sections\"><a class=\"category vertical - film-tv\" href=\"https:\/\/www.dazeddigital.com\/film-tv\">Film &amp; TV<\/a><br \/>\n\/<br \/>\n<a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/feature\">Feature<\/a><\/div>\n<\/div>\n<div class=\"standard-tag-container\"><a class=\"standard-category\" href=\"https:\/\/www.dazeddigital.com\/film-tv\">Film &amp; TV<\/a> \/<br \/>\n<a class=\"standard-series\" href=\"https:\/\/www.dazeddigital.com\/feature\">Feature<\/a><\/div>\n<h1 class=\"title\"><span>Inside Rose of Nevada, the film making British cinema <span class=\"nowrap\">weird again<\/span><\/span><\/h1>\n<div class=\"standfirst\">\n<h2>Director Mark Jenkin talks analogue filmmaking, Lynchian nightmares, and working with George MacKay and <span class=\"nowrap\">Callum Turner<\/span><\/h2>\n<\/div>\n<p><time datetime=\"2026-04-27T12:09:00+00:00\" class=\"timestamp\" title=\"27 April 2026\"><span class=\"month\">April<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"27\">27,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/div>\n<\/div>\n<p><time datetime=\"2026-04-27T12:09:00+00:00\" class=\"timestamp\" title=\"27 April 2026\"><span class=\"month\">April<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"27\">27,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/p>\n<div class=\"providers\">\n<div class=\"contributors\"><span class=\"contributor\" data-contributor-role=\"Text\"><span class=\"contributor-role\">Text<\/span><a class=\"contributor-name\" href=\"https:\/\/www.dazeddigital.com\/user\/NickChen\">Nick Chen<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/header>\n<div class=\"article-body-container\">\n<div class=\"article-body wrapper\">\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>In an age where anyone could become a Sean Baker by hitting \u201crecord\u201d on their phone, Mark Jenkin has stayed ahead of the curve with old technology. On<span>\u00a0<\/span><em>Bait<\/em>, Jenkin\u2019s 2019 debut feature, he used a wind-up Bolex camera from 1976, shooting everything on scratchy 16mm film. It was an instant cult success. At the BAFTAs, where<span>\u00a0<\/span><em>Bait<\/em><span>\u00a0<\/span>won an award in early 2020, Quentin Tarantino approached Jenkin with praise, calling him \u201cthe<span>\u00a0<\/span><em>Bait<\/em><span>\u00a0<\/span>guy\u201d.<\/p>\n<p>If Tarantino were to approach Jenkin today, it might be as \u201cthe Bolex guy\u201d, such is the camera\u2019s impact on Jenkin\u2019s eerie, esoteric aesthetic. As the Bolex can\u2019t handle shots lasting longer than 27 seconds, which is when the camera needs to be cranked by hand, Jenkin\u2019s films (he\u2019s shot two more since<span>\u00a0<\/span><em>Bait<\/em>) each possess a distinct visual grammar: instead of relying on lazy coverage, they\u2019re packed with purposeful close-ups and inherent spontaneity. Moreover, Jenkin doesn\u2019t record audio on set: the sound is entirely created in postproduction, resulting in a Lynchian disconnect. The most unsettling moment of<span>\u00a0<\/span><em>Bait<\/em>, though, might be a shot of a MacBook: a reminder that Jenkin is making movies in the present day.<\/p>\n<p>\u201cWhen I went out with<span>\u00a0<\/span><em>Bait<\/em>, I thought it was going to be queues of old people wanting to talk about the good, old days of shooting on film,\u201d Jenkin tells me upstairs at Picturehouse Central. \u201cBut they weren\u2019t there. It was young people with 35mm cameras. They\u2019d come up to me afterwards and ask about Super 8 and 16mm.\u201d In fact, in the lobby, I witness a wannabe filmmaker approach Jenkin for advice. \u201cIt\u2019s always flattering when the younger generation, who are always going to be cooler than you, are interested in what you\u2019re doing. Every day, we\u2019re told cinema\u2019s dead, but there\u2019s a whole younger generation that gather on Letterboxd that studios and filmmakers can\u2019t ignore anymore. That\u2019s so exciting.\u201d<\/p>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"bw371ui9cTk\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/bw371ui9cTk\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>It\u2019s April and Jenkin is in the middle of a Q&amp;A tour for his new film,<span>\u00a0<\/span><em>Rose of Nevada<\/em>, a hypnotic horror that\u2019s also a time-travel melodrama. Last night he was in Liverpool, and I\u2019ve caught him in London hours before he travels up to Manchester. The 50-year-old Cornish filmmaker is a firm believer in the cinematic experience (I\u2019ve spotted him as an audience member for 35mm repertory screenings at BFI Southbank), with<span>\u00a0<\/span><em>Rose of Nevada<\/em><span>\u00a0<\/span>expected to draw in even more viewers: unlike<span>\u00a0<\/span><em>Bait<\/em>,<span>\u00a0<\/span><em>Rose of Nevada<\/em><span>\u00a0<\/span>is shot in colour and has bona fide movie stars in George MacKay and Callum Turner.<\/p>\n<p>Combined with Jenkin\u2019s playful, genre-savvy imagination, the Bolex-shot images of<span>\u00a0<\/span><em>Rose of Nevada<\/em><span>\u00a0<\/span>are poetic, immediate, and starkly haunting, especially when placed against the Netflix-ification of how most movies tend to look nowadays. In the ghostly mystery, Nick (MacKay) is a struggling family man seen early on at a foodbank, while Liam (Turner) has landed in Cornwall without a job or home. It\u2019s clear this fishing village has seen better days, and that assertion is literalised with the spooky arrival of a boat once believed to be lost. Boarding the vessel, Nick and Liam head off on a fishing trip \u2013 even though \u201cGET OFF THE BOAT NOW\u201d is engraved in the wood \u2013 and return to the harbour, realising they\u2019ve gone back 30 years in time.<\/p>\n<p>\u201cIt\u2019s not a film about fishing,\u201d says Jenkin. \u201cIt\u2019s also not about time-travel, because it\u2019s not reliant on the time slip.\u201d However, Jenkin, who\u2019s the sole writer, director, cinematographer, editor, and composer, prefers to not elaborate on his intentions. The exception is his avowal that he\u2019s not romanticising the past. \u201cThere\u2019s no better time to be alive in terms of standard of living, life expectancy, tolerance, and the acceptance of difference,\u201d he says. \u201cObviously, there\u2019s still so far to go. Austerity did so much damage. I wanted to illustrate that without it being a political statement.\u201d<\/p>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<blockquote>\n<p>\u201cIt\u2019s fucking insane that we\u2019re the sixth-biggest economy in the world, and people are relying on foodbanks. The film flags up that in some ways we\u2019re going backwards\u201d \u2013 Mark Jenkin<\/p>\n<\/blockquote>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>So when Nick and Liam head back to 1993, the local fishing industry is once again thriving, and the building that was formerly a food bank is now a bustling post office. \u201cFood banks are good and serve a purpose,\u201d says Jenkin. \u201cBut the normalisation of food banks is bad. It\u2019s fucking insane that we\u2019re the sixth-biggest economy in the world, and people are relying on food banks. The film flags up that in some ways we\u2019re going backwards.\u201d<\/p>\n<p>Stranded in 1993, Nick is distraught by the distance from his 2023 family, whereas Liam gladly inserts himself into a new household and essentially steals a dead man\u2019s life. The casting works: MacKay specialises in thoughtful, sensitive types (<em>The Beast<\/em>,<span>\u00a0<\/span><em>The End<\/em>); Turner, who might be the next James Bond, brings rock star energy to Liam. To my surprise, Jenkin originally asked MacKay to play Liam.<\/p>\n<p>\u201cWhen I [eventually] met Mark, we didn\u2019t talk about the film once,\u201d MacKay tells me over Zoom. \u201cWe talked about our lives. At the end of that, he said I\u2019d be more right for Nick. And it felt right, because Nick behaves the way he does because he\u2019s trying to do what\u2019s best for his family. I haven\u2019t had a role where that\u2019s been at the character\u2019s core before.\u201d<\/p>\n<\/div>\n<figure class=\"inline-img expandable dev-view-hide\" data-img=\"288e7667-621f-4b02-bc15-b43900d3949b\" data-src=\"https:\/\/images-prod.dazeddigital.com\/2000\/azure\/dazed-prod\/1440\/4\/1444059.jpg\" data-img-aspect-ratio-type=\"landscape\" data-img-aspect-ratio=\"1.5\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"ROSE OF NEVADA_079rs_Courtesy Bosena_Photo by Stev\" class=\"img\" height=\"2000\" src=\"https:\/\/images-prod.dazeddigital.com\/786\/azure\/dazed-prod\/1440\/4\/1444059.jpg\" width=\"3000\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"credit\">Courtesy Bosena, Photography <span class=\"nowrap\">Steve Tanner<\/span><\/span><\/figcaption><\/figure>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>Until recently, MacKay, who\u2019s now 34, was known for boyish roles. Even 2024\u2019s<span>\u00a0<\/span><em>The End<\/em><span>\u00a0<\/span>was about delayed adolescence. \u201cIn the last few years, I\u2019ve got my own family,\u201d says the English actor. \u201cI\u2019ve matured so much. I just know more. Being a father of two has taught me things about myself. The things I\u2019m still concerned by are no longer that of those younger characters.\u201d<\/p>\n<p>MacKay, like Turner, was a fan of<span>\u00a0<\/span><em>Bait<\/em><span>\u00a0<\/span>and<span>\u00a0<\/span><em>Enys Men<\/em>, and as a firm believer that the process of filmmaking is as crucial as the final product, he was keen to be pushed by Jenkin\u2019s idiosyncratic methods. As a Bolex-enforced rule, the actors only had one or two takes, although Jenkin explains that they had opposite approaches: MacKay would prepare beforehand and stick to his ideas, whereas Turner might decide upon something new and request a third attempt.<\/p>\n<p>\u201cThree-take Turner!\u201d jokes MacKay. \u201cYou develop a real trust in Mark. If he\u2019s happy with the first take, you move on. The sparsity of the writing allows for multiple interpretations to be projected onto it, rather than for you to offer a number of definitive interpretations of a line. I knew that a level of neutrality to the delivery would leave it more open to a number of interpretations.\u201d However, MacKay notes, \u201cThe film begins with my character coming into a foodbank. It\u2019s set in a world that\u2019s real. That in itself is a political statement: that\u2019s where things are in some places in the UK.\u201d<\/p>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<blockquote>\n<p>\u201cI\u2019ve matured so much. I just know more. Being a father of two has taught me things about myself. The things I\u2019m still concerned by are no longer that of those younger characters\u201d \u2013 George MacKay<\/p>\n<\/blockquote>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>In terms of not explaining his films, Jenkin points to David Lynch\u2019s similar refusal. It leads to a lengthy tangent about our mutual love (or terror) of Laura Palmer\u2019s scream at the end of<span>\u00a0<\/span><em>Twin Peaks: The Return<\/em>. \u201cLynch realised you can unsettle an audience with sound in a way you can\u2019t do with visuals,\u201d says Jenkin. \u201cA jump scare is over in a second, and you laugh at yourself. It\u2019s almost impossible to create a visual that\u2019s unsettling for a prolonged amount of time \u2013 because our brains make sense of it. But Lynch might have 30 tracks of audio that are naturalistic, and one\u2019s playing backwards. If you don\u2019t know why something\u2019s not right, it\u2019s unsettling.\u201d<\/p>\n<p>Jenkin describes an example in<span>\u00a0<\/span><em>Enys Men<\/em><span>\u00a0<\/span>where the cottage\u2019s ticking clocks are always too quick or too slow. He also recalls a version of<span>\u00a0<\/span><em>Rose of Nevada<\/em><span>\u00a0<\/span>that was practically finished except for Turner\u2019s dialogue, which was temporary voiced by the director himself. \u201cCallum came in one day, did his dialogue, we dropped it in, and it changed the entire film. It changed George\u2019s performance. [People thought] we recut it. I was like: \u2018No, all we did was replace my voice with Callum\u2019s.\u2019 How the fuck does that happen? It\u2019s supernatural. But that\u2019s what cinema does. It\u2019s the greatest art form we\u2019ve ever invented, because it\u2019s so keyed into how our minds and subconscious work. But it\u2019s so sophisticated, I don\u2019t understand how it works.\u201d<\/p>\n<p>Jenkin acknowledges the personal tragedy of Lynch\u2019s passing, and that a fourth series of<span>\u00a0<\/span><em>Twin Peaks<span>\u00a0<\/span><\/em>will never materialise. \u201cBut now<span>\u00a0<\/span><em>Twin Peaks<\/em><span>\u00a0<\/span>will play forever because he didn\u2019t explain it. He leaves us to work it out. That\u2019s what I want to do with my films. A film falls to pieces if you explain the meaning. You kill it. If you don\u2019t understand a film in the moment, it carries on once you leave the cinema.\u201d<\/p>\n<p>Rose of Nevada<em>\u00a0is released in\u00a0<a href=\"https:\/\/www.roseofnevada.co.uk\/tickets\/\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.roseofnevada.co.uk\/tickets\/&amp;source=gmail&amp;ust=1777376765705000&amp;usg=AOvVaw0nounN-oKTflh4lFdR0vVS\">cinemas<\/a>\u00a0on 24 April, and on BFI Blu-ray and BFI Player this summer<\/em><\/p>\n<\/div>\n<div id=\"newsletter-inline-last\">\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! 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data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"chloe-cherry-drug-mule-euphoria\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/104-3-1091-726\/azure\/dazed-prod\/1440\/3\/1443363.jpeg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">Euphoria season 3 is a celebration of female degradation<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/film-tv\/article\/70085\/1\/my-undesirable-friends-julia-loktev-documentary-interview\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"My Undesirable Friends Part I_ALT still_archival_E\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/0-119-3000-1995\/azure\/dazed-prod\/1440\/3\/1443362.JPG\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">This iPhone-shot doc exposes the ugliness of authoritarianism<\/h3>\n<\/div>\n<p><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"swiper-slide list-element\">\n<div class=\"scard-latest__section\">\n<div class=\"card-latest__wrapper\"><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/film-tv\/article\/70078\/1\/7-things-to-watch-at-tite-festival-2026-trans-image-experience-film-dublin\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"shes-the-he-04\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/183-0-1082-720\/azure\/dazed-prod\/1440\/3\/1443285.jpeg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">7 things to watch from trans film festival TITE<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/film-tv\/article\/70075\/1\/10-films-to-see-cannes-film-festival-2026-guide-her-private-hell-refn-hope\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"teenage sex and death at camp miasma\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/0-0-1000-665\/azure\/dazed-prod\/1440\/3\/1443255.jpeg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">10 films we\u2019re excited to see at Cannes Film Festival 2026<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/film-tv\/article\/70070\/1\/exit8-japanese-horror-film-genki-kawamura-interview\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"EXIT 8\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/0-2-3000-1995\/azure\/dazed-prod\/1440\/3\/1443182.jpg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">Exit8: A must-see Japanese horror about an endless commute <\/h3>\n<\/div>\n<p><\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"newsletter-inline\" data-newsletter hidden>\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. You have been subscribed<\/p>\n<p><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n<div class=\"article-body wrapper\">\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>In an age where anyone could become a Sean Baker by hitting \u201crecord\u201d on their phone, Mark Jenkin has stayed ahead of the curve with old technology. On<span>\u00a0<\/span><em>Bait<\/em>, Jenkin\u2019s 2019 debut feature, he used a wind-up Bolex camera from 1976, shooting everything on scratchy 16mm film. It was an instant cult success. At the BAFTAs, where<span>\u00a0<\/span><em>Bait<\/em><span>\u00a0<\/span>won an award in early 2020, Quentin Tarantino approached Jenkin with praise, calling him \u201cthe<span>\u00a0<\/span><em>Bait<\/em><span>\u00a0<\/span>guy\u201d.<\/p>\n<p>If Tarantino were to approach Jenkin today, it might be as \u201cthe Bolex guy\u201d, such is the camera\u2019s impact on Jenkin\u2019s eerie, esoteric aesthetic. As the Bolex can\u2019t handle shots lasting longer than 27 seconds, which is when the camera needs to be cranked by hand, Jenkin\u2019s films (he\u2019s shot two more since<span>\u00a0<\/span><em>Bait<\/em>) each possess a distinct visual grammar: instead of relying on lazy coverage, they\u2019re packed with purposeful close-ups and inherent spontaneity. Moreover, Jenkin doesn\u2019t record audio on set: the sound is entirely created in postproduction, resulting in a Lynchian disconnect. The most unsettling moment of<span>\u00a0<\/span><em>Bait<\/em>, though, might be a shot of a MacBook: a reminder that Jenkin is making movies in the present day.<\/p>\n<p>\u201cWhen I went out with<span>\u00a0<\/span><em>Bait<\/em>, I thought it was going to be queues of old people wanting to talk about the good, old days of shooting on film,\u201d Jenkin tells me upstairs at Picturehouse Central. \u201cBut they weren\u2019t there. It was young people with 35mm cameras. They\u2019d come up to me afterwards and ask about Super 8 and 16mm.\u201d In fact, in the lobby, I witness a wannabe filmmaker approach Jenkin for advice. \u201cIt\u2019s always flattering when the younger generation, who are always going to be cooler than you, are interested in what you\u2019re doing. Every day, we\u2019re told cinema\u2019s dead, but there\u2019s a whole younger generation that gather on Letterboxd that studios and filmmakers can\u2019t ignore anymore. That\u2019s so exciting.\u201d<\/p>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"bw371ui9cTk\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/bw371ui9cTk\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>It\u2019s April and Jenkin is in the middle of a Q&amp;A tour for his new film,<span>\u00a0<\/span><em>Rose of Nevada<\/em>, a hypnotic horror that\u2019s also a time-travel melodrama. Last night he was in Liverpool, and I\u2019ve caught him in London hours before he travels up to Manchester. The 50-year-old Cornish filmmaker is a firm believer in the cinematic experience (I\u2019ve spotted him as an audience member for 35mm repertory screenings at BFI Southbank), with<span>\u00a0<\/span><em>Rose of Nevada<\/em><span>\u00a0<\/span>expected to draw in even more viewers: unlike<span>\u00a0<\/span><em>Bait<\/em>,<span>\u00a0<\/span><em>Rose of Nevada<\/em><span>\u00a0<\/span>is shot in colour and has bona fide movie stars in George MacKay and Callum Turner.<\/p>\n<p>Combined with Jenkin\u2019s playful, genre-savvy imagination, the Bolex-shot images of<span>\u00a0<\/span><em>Rose of Nevada<\/em><span>\u00a0<\/span>are poetic, immediate, and starkly haunting, especially when placed against the Netflix-ification of how most movies tend to look nowadays. In the ghostly mystery, Nick (MacKay) is a struggling family man seen early on at a foodbank, while Liam (Turner) has landed in Cornwall without a job or home. It\u2019s clear this fishing village has seen better days, and that assertion is literalised with the spooky arrival of a boat once believed to be lost. Boarding the vessel, Nick and Liam head off on a fishing trip \u2013 even though \u201cGET OFF THE BOAT NOW\u201d is engraved in the wood \u2013 and return to the harbour, realising they\u2019ve gone back 30 years in time.<\/p>\n<p>\u201cIt\u2019s not a film about fishing,\u201d says Jenkin. \u201cIt\u2019s also not about time-travel, because it\u2019s not reliant on the time slip.\u201d However, Jenkin, who\u2019s the sole writer, director, cinematographer, editor, and composer, prefers to not elaborate on his intentions. The exception is his avowal that he\u2019s not romanticising the past. \u201cThere\u2019s no better time to be alive in terms of standard of living, life expectancy, tolerance, and the acceptance of difference,\u201d he says. \u201cObviously, there\u2019s still so far to go. Austerity did so much damage. I wanted to illustrate that without it being a political statement.\u201d<\/p>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<blockquote>\n<p>\u201cIt\u2019s fucking insane that we\u2019re the sixth-biggest economy in the world, and people are relying on foodbanks. The film flags up that in some ways we\u2019re going backwards\u201d \u2013 Mark Jenkin<\/p>\n<\/blockquote>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>So when Nick and Liam head back to 1993, the local fishing industry is once again thriving, and the building that was formerly a food bank is now a bustling post office. \u201cFood banks are good and serve a purpose,\u201d says Jenkin. \u201cBut the normalisation of food banks is bad. It\u2019s fucking insane that we\u2019re the sixth-biggest economy in the world, and people are relying on food banks. The film flags up that in some ways we\u2019re going backwards.\u201d<\/p>\n<p>Stranded in 1993, Nick is distraught by the distance from his 2023 family, whereas Liam gladly inserts himself into a new household and essentially steals a dead man\u2019s life. The casting works: MacKay specialises in thoughtful, sensitive types (<em>The Beast<\/em>,<span>\u00a0<\/span><em>The End<\/em>); Turner, who might be the next James Bond, brings rock star energy to Liam. To my surprise, Jenkin originally asked MacKay to play Liam.<\/p>\n<p>\u201cWhen I [eventually] met Mark, we didn\u2019t talk about the film once,\u201d MacKay tells me over Zoom. \u201cWe talked about our lives. At the end of that, he said I\u2019d be more right for Nick. And it felt right, because Nick behaves the way he does because he\u2019s trying to do what\u2019s best for his family. I haven\u2019t had a role where that\u2019s been at the character\u2019s core before.\u201d<\/p>\n<\/div>\n<figure class=\"inline-img expandable dev-view-hide\" data-img=\"288e7667-621f-4b02-bc15-b43900d3949b\" data-src=\"https:\/\/images-prod.dazeddigital.com\/2000\/azure\/dazed-prod\/1440\/4\/1444059.jpg\" data-img-aspect-ratio-type=\"landscape\" data-img-aspect-ratio=\"1.5\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"ROSE OF NEVADA_079rs_Courtesy Bosena_Photo by Stev\" class=\"img\" height=\"2000\" src=\"https:\/\/images-prod.dazeddigital.com\/786\/azure\/dazed-prod\/1440\/4\/1444059.jpg\" width=\"3000\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"credit\">Courtesy Bosena, Photography <span class=\"nowrap\">Steve Tanner<\/span><\/span><\/figcaption><\/figure>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>Until recently, MacKay, who\u2019s now 34, was known for boyish roles. Even 2024\u2019s<span>\u00a0<\/span><em>The End<\/em><span>\u00a0<\/span>was about delayed adolescence. \u201cIn the last few years, I\u2019ve got my own family,\u201d says the English actor. \u201cI\u2019ve matured so much. I just know more. Being a father of two has taught me things about myself. The things I\u2019m still concerned by are no longer that of those younger characters.\u201d<\/p>\n<p>MacKay, like Turner, was a fan of<span>\u00a0<\/span><em>Bait<\/em><span>\u00a0<\/span>and<span>\u00a0<\/span><em>Enys Men<\/em>, and as a firm believer that the process of filmmaking is as crucial as the final product, he was keen to be pushed by Jenkin\u2019s idiosyncratic methods. As a Bolex-enforced rule, the actors only had one or two takes, although Jenkin explains that they had opposite approaches: MacKay would prepare beforehand and stick to his ideas, whereas Turner might decide upon something new and request a third attempt.<\/p>\n<p>\u201cThree-take Turner!\u201d jokes MacKay. \u201cYou develop a real trust in Mark. If he\u2019s happy with the first take, you move on. The sparsity of the writing allows for multiple interpretations to be projected onto it, rather than for you to offer a number of definitive interpretations of a line. I knew that a level of neutrality to the delivery would leave it more open to a number of interpretations.\u201d However, MacKay notes, \u201cThe film begins with my character coming into a foodbank. It\u2019s set in a world that\u2019s real. That in itself is a political statement: that\u2019s where things are in some places in the UK.\u201d<\/p>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<blockquote>\n<p>\u201cI\u2019ve matured so much. I just know more. Being a father of two has taught me things about myself. The things I\u2019m still concerned by are no longer that of those younger characters\u201d \u2013 George MacKay<\/p>\n<\/blockquote>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>In terms of not explaining his films, Jenkin points to David Lynch\u2019s similar refusal. It leads to a lengthy tangent about our mutual love (or terror) of Laura Palmer\u2019s scream at the end of<span>\u00a0<\/span><em>Twin Peaks: The Return<\/em>. \u201cLynch realised you can unsettle an audience with sound in a way you can\u2019t do with visuals,\u201d says Jenkin. \u201cA jump scare is over in a second, and you laugh at yourself. It\u2019s almost impossible to create a visual that\u2019s unsettling for a prolonged amount of time \u2013 because our brains make sense of it. But Lynch might have 30 tracks of audio that are naturalistic, and one\u2019s playing backwards. If you don\u2019t know why something\u2019s not right, it\u2019s unsettling.\u201d<\/p>\n<p>Jenkin describes an example in<span>\u00a0<\/span><em>Enys Men<\/em><span>\u00a0<\/span>where the cottage\u2019s ticking clocks are always too quick or too slow. He also recalls a version of<span>\u00a0<\/span><em>Rose of Nevada<\/em><span>\u00a0<\/span>that was practically finished except for Turner\u2019s dialogue, which was temporary voiced by the director himself. \u201cCallum came in one day, did his dialogue, we dropped it in, and it changed the entire film. It changed George\u2019s performance. [People thought] we recut it. I was like: \u2018No, all we did was replace my voice with Callum\u2019s.\u2019 How the fuck does that happen? It\u2019s supernatural. But that\u2019s what cinema does. It\u2019s the greatest art form we\u2019ve ever invented, because it\u2019s so keyed into how our minds and subconscious work. But it\u2019s so sophisticated, I don\u2019t understand how it works.\u201d<\/p>\n<p>Jenkin acknowledges the personal tragedy of Lynch\u2019s passing, and that a fourth series of<span>\u00a0<\/span><em>Twin Peaks<span>\u00a0<\/span><\/em>will never materialise. \u201cBut now<span>\u00a0<\/span><em>Twin Peaks<\/em><span>\u00a0<\/span>will play forever because he didn\u2019t explain it. He leaves us to work it out. That\u2019s what I want to do with my films. A film falls to pieces if you explain the meaning. You kill it. If you don\u2019t understand a film in the moment, it carries on once you leave the cinema.\u201d<\/p>\n<p>Rose of Nevada<em>\u00a0is released in\u00a0<a href=\"https:\/\/www.roseofnevada.co.uk\/tickets\/\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.roseofnevada.co.uk\/tickets\/&amp;source=gmail&amp;ust=1777376765705000&amp;usg=AOvVaw0nounN-oKTflh4lFdR0vVS\">cinemas<\/a>\u00a0on 24 April, and on BFI Blu-ray and BFI Player this summer<\/em><\/p>\n<\/div>\n<div id=\"newsletter-inline-last\">\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. You have been subscribed<\/p>\n<p><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>[analyse_source url=&#8221;https:\/\/www.dazeddigital.com\/film-tv\/article\/70149\/1\/rose-of-nevada-is-a-lynchian-nightmare-with-callum-turner-and-george-mackay&#8221;]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/images-prod.dazeddigital.com\/1200\/515-415-1912-1275\/azure\/dazed-prod\/1440\/4\/1444058.jpg&#8221;] Courtesy Bosena, Photography Steve Tanner April\u00a0 27,\u00a0 2026 Film &amp; TV \/ Feature Film &amp; TV \/ Feature Inside Rose of Nevada, the film making British cinema weird again Director Mark Jenkin talks analogue filmmaking, Lynchian nightmares, and working with George MacKay and Callum Turner April\u00a0 27,\u00a0 2026 April\u00a0 27,\u00a0 2026 TextNick [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[226,76],"class_list":["post-1905036","post","type-post","status-publish","format-standard","hentry","category-politics","tag-crawlmanager","tag-dazeddigital-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1905036","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1905036"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1905036\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1905036"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1905036"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1905036"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}