Director Mark Jenkin discusses his non-chronological Cornish folk horror film Enys Men.
In director Mark Jenkins new Cornish folk horror filmEnys Men, pronounced Ennis Mane, routine is unsettling.
Then she records No change in a journal.
But then things do begin to change.
The concept of time begins to fluctuate, even from the films early moments for the very observant viewer.
Then there are the lichens.
The composite organism appears on the flowers, and begins to appear on her own body.
This all takes place as a large stone monument stands sentry outside of her cottage, until it doesnt.
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Den of Geek: Why would you consider this a Cornish folk forror?
Mark Jenkin:To start with, we needed a label for it.
I was pressed to describe it, and the original description was A lost Cornish folk horror.
Someone on the marketing team said, Dont describe it as lost.
Then it was Cornish folk horror.
I was wary to use the word horror.
Then we referred to it as Cornish folk, which doesnt mean anything!
Then we dropped folk, and started calling it a Cornish film.
Because, in Cornwall, were not that historically or culturally.
I was very keen to put Cornish in there.
And inevitably, theres a folk horror tradition.
I think, you know, for me, all those words are kind of important.
The Cornish-ness of it is important because its a Cornish film, it was made in Cornwall.
The setting is Cornish.
The lichens appear regularly throughout the movie.
Theyre a composite organism.
Is this a composite ghost story where the land itself is also part of the haunting?
You could read it as that, yeah.
A lot of people have talked about the lichen element, and what it is believed to be.
Were still learning about lichens, and its many mysteries.
The lichen is kind of central to the theme of the film.
For me, more in terms of its timelessness, is its ability to adapt and outlive everything else.
But I like your reading.
There is a radio broadcast in the beginning that suggests time is fluid.
Is there a time setting to this?
Well, its 1973 as a starting point.
Time certainly seems to be moving in all directions rather than just in one direction …
When time doesnt make sense, thats true horror for me.
I remember the first time I sawDont Look Now, and where Donald Sutherland sees the barge go by.
I remember watching that thinking whats going on there and being really confused like the character is.
That stuff really unsettled me.
Im glad you brought upDont Look Now.
Like that film, this is a film where color plays an important role with the character.
And then aesthetically, this film does feel locked into the early 70s.
Is this an intentional homage to horror of that era?
I knew that it was going to be set in the early 70s.
I wanted it to feel of that era without really being too over the top about it.
I didnt think about it when we were shooting it at all.
I didnt think [during filming] This is a film that is set in the 70s.
Theres a fragmented way that I shoot which leads to a lot of montage within the edit.
Also not recording any sound, post syncing the sound, using old lenses.
I dont have to think about it at all when Im shooting.
I love that era of filmmaking, and theres no direct homage.
But the obvious one isDont Look Now.
Hence The Volunteers red jacket?
The red jacket wasnt a deliberate homage.
I was like, well, yeah, of course.
Ive walked straight into that.
[Dont Look Nowdirector] Nick Roeg is one of the masters as far as Im concerned.
I think Roegs influence on the film is everywhere.
But the red jacket isnt part of that.
That was a genuine, genuine accident I wandered into.
Is there an order to this film where you could arrange it in a linear way?
You could, but I think it would drive you mad.
So, you have to switch it around.
For me, thats the thing that intrigues me about time.
If you think about it too much, it kind of drives you mad.
You just have to experience it and get through it the best you’re free to.
Theres no past, and theres no future.
There is only the present moment.
I think that the film kind of works in that space.
This is a film that demands attention, but its also a film thats going to challenge people.
How would you invite people into it?
Just, I dont know!
I think if I knew that, Id be working in marketing.
I got to thinking about that last night.
I know it’s possible for you to do that at home under certain circumstances.
If that film is continuing to play, and continues to haunt you, its got under your skin.
For me, thats a really incredible experience.
I remember when I went to seeBlack Swan.
The films that I like, when you leave the theater, theyre still playing in your head.
With this one,Enys Menis a three-act film.
I know that approach isnt for everybody.
But for those that do respond to those films, I think this will be a good experience.
Finally, I wanted to ask about The Volunteer.
With so little dialogue, and with so few characters, everything is resting on Marys performance.
What was the process of pulling her in on this, and being the right person for The Volunteer.
Its an incredible performance.
I always said to her, if this film works, it will be down to your performance.
And if it doesnt work, it will be my responsibility.
I now know theres no way I could have made this film without Mary.
But I genuinely think if it was with somebody else, wed still be shooting it now.
Her and I have got quite a very strong shorthand.
Thats where we got this kind of performance from.
She has been a theater actor.
Predominantly, she grew up in a kind of a theater family.
Obviously, with theater acting, you rely on dialogue, and on big gestures.
But the way I work, theres very few words, theres very little room for gesture.
And I think thats why I think its such a great performance.
Enys Menis now available in select cinemas.
