In his fourth film, Cornish director Mark Jenkin combines elements from his previous works into a hypnotic exploration of mental disintegration.
‘Rose of Nevada’ Review: A Hallucinatory Journey Through Time
In his fourth film, Cornish director Mark Jenkin combines elements from his previous works into a hypnotic exploration of mental disintegration. While the film centers on an everyday person grappling with their demons in solitude—similar to his last film—it also makes a broader commentary on the more prosperous times of the British south-west’s economic history. The themes of gentrification in his 2019 arthouse hit Bait and the eerie folklore in his 2022 Cannes entry Enys Men are present, yet Rose of Nevada veers more towards a genre piece, leaning into horror while maintaining Jenkin’s signature haunting, glitchy, hand-distressed style akin to artist Francis Bacon’s distorted portraits.
Cast and Characters
This film marks Jenkin’s first foray into commercial casting, featuring established actor George McKay alongside rising star Callum Turner, who is currently in the spotlight due to this year’s Bond rumors. Both actors possess a gnomic quality that complements the film’s disturbing and ambiguous narrative, where identities are fluid and nothing is as it seems.
The Plot Unfolds
The story opens with visuals of flotsam and jetsam—barnacles, seaweed, and remnants of the once-thriving Cornish fishing industry. These images evoke the ghost of the Rose of Nevada, a fishing boat that mysteriously reappears after vanishing 30 years prior. A local businessman decides it must return to the sea, recruiting a grizzled old sea salt, played by Francis Magee, as the skipper.
The crew consists of Nick (McKay) and Liam (Turner). Nick, a young father struggling to support his family through food bank donations, faces ominous signs from his elderly neighbor, Mr. Richards, who believes his deceased son is returning. In contrast, the carefree Liam embodies a more reckless spirit, setting the stage for the unfolding drama.
A Journey to the Unknown
The trio sets sail, and their fishing expedition is initially a success, bringing them back with cash in hand. However, upon their return, the town feels different—busier, with a sense of nostalgia permeating the air. Liam is mistaken for a single mother’s child’s father, while Nick finds himself in a surreal situation where the Richards appear significantly younger, insisting he is their long-lost son. The year is revealed to be 1993, three years before Nick’s birth, leaving him questioning reality.
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Exploring Time and Reality
Rose of Nevada creates a Möbius strip of narrative, reminiscent of Roman Polanski’s eerie The Tenant. The film establishes an uncanny atmosphere from the beginning, enhanced by Jenkin’s unique non-synchronous dialogue style and intriguing performances. While some old-age makeup may distract, it ultimately contributes to the film’s surreal quality, leading Nick to ponder if he is the subject of an elaborate prank.
On the surface, the film depicts a man under pressure to provide for his family. However, it delves deeper into the concept of time, presenting a trippy interpretation of the term “ghost town” in today’s post-industrial landscape. As the narrative unfolds, the lines between reality and fantasy blur, leaving viewers questioning the nature of existence itself. Notably, a scene featuring Christopher Walken on TV in The Dead Zone (1983) underscores the film’s exploration of the past and future.
Conclusion
Ultimately, Rose of Nevada presents a haunting meditation on the past and the cyclical nature of time, prompting audiences to reflect on what remains when the future is no longer an option.
Title: Rose of Nevada
Festival: Venice (Orizzonti Competition)
Director/screenwriter: Mark Jenkin
Cast: George MacKay, Callum Turner, Francis Magee, Edward Rowe, Rosalind Eleazar, Mary Woodvine
Sales agent: Protagonist
Running time: 1 hr 54 mins
