Cornish cinema ignites: 'rose of nevada' premiere sparks nervous excitement
Newlyn, Cornwall – The initial reception to Mark Jenkin’s latest film, ‘Rose of Nevada,’ at a private preview screening, was nothing short of ecstatic. But the director, a native of this small fishing town, admitted to a palpable unease as he faced a room full of familiar faces during a Q&A. “This is quite simply the best place on Earth,” Jenkin declared, his voice laced with a characteristic, understated intensity. He confessed that engaging with his community, a notoriously discerning audience, presented a challenge he hadn’t fully anticipated.
A tempest of anticipation
The film, a ghostly time travel tale centered on a Cornish fishing boat, is already generating considerable buzz, earning early acclaim and securing a prominent spot on the cover of Sight & Sound magazine’s May issue. Jenkin’s guarded optimism, evident as he recounted the logistical hurdles – filming primarily in the harbors of Hayle and Mullion, utilizing a vintage 16mm Bolex camera – speaks volumes about the weight of expectation.
‘Rose of Nevada’ isn’t merely a stylistic exercise; it’s a deeply personal statement. Jenkin insists the authenticity of the setting – the smell of the sea, the weathered faces of the fishermen – is paramount. He emphasized that any perceived lack of veracity would be a significant blow. “The Cornish audience holds a particular significance,” he stated firmly. “Their judgment is… unavoidable.”
Echoes of the past, visions of the future
Jenkin’s previous works – the gritty Bait and the unsettling Enys Men – have solidified his reputation as a master of Cornish folklore and cinematic atmosphere. But ‘Rose of Nevada’ represents a significant leap, a bolder exploration of narrative and visual language. The film’s use of the clockwork Bolex and its dedication to capturing the essence of Cornwall, rather than simply utilizing it as a picturesque backdrop, underlines this ambition. It’s a deliberate attempt to connect with viewers on a visceral level, regardless of their familiarity with the region.
Beyond the aesthetic concerns, sustainability and community engagement are key priorities. Props used during filming – nets, fish boxes, buoys – are being returned to the sea, minimizing the film’s environmental footprint. Denzil Monk, Jenkin’s producer, stressed the importance of respecting the cultural context of the project. “We’re not here to impose our vision,” he explained. “We’re here to amplify the voices and stories of Cornwall.”
A seed of something bigger
Screen Cornwall’s Laura Giles highlighted ‘Rose of Nevada’ as a pivotal moment for Cornish cinema. “Mark is a genuine talent, a driving force,” she said. “But he's part of a growing movement, a new generation of filmmakers who are determined to tell stories rooted in this landscape.”
The success of figures like Edward Rowe, with his Cornish-language film Poll Pri, and Brett Harvey, with Long Way Back, demonstrates a burgeoning regional film industry. Even the enduring presence of the Newlyn Cinema, a beloved institution, stands as a testament to the power of cinema itself. As Jenkin himself observed, “There’s a strange thing happening here. A film set in a place that, frankly, most of the world has never heard of, is suddenly capturing attention.” He paused, a flicker of something akin to defiance in his eyes. “It’s not about proving anything, really. It’s about telling the truth.”
The centre of the world
Jenkin’s assertion that Cornwall is “at the centre of the world” isn't a delusional vanity project. It’s a grounded observation, born from a deep connection to his homeland. “It’s just… my world,” he clarified, “and that’s enough.” The release of ‘Rose of Nevada’ in the UK and Ireland later this month promises to further solidify Cornwall’s position on the cinematic map.