Enys Men [DVD + Blu-ray]

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Enys Men [DVD + Blu-ray]

Enys Men [DVD + Blu-ray]

RRP: £99
Price: £9.9
£9.9 FREE Shipping

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Jenkin also composed the film's entrancing lo-fi drone score, now available on red vinyl LP via Invada Records.

Young points out that the year when Enys Men is set, 1973, was a significant one for British horror, seeing the release of The Wicker Man and Don’t Look Now (on a double bill) and The Stone Tape had been broadcast on the previous Christmas Day. We will introduce you exclusively to Newpay finance products provided by NewDay Limited under this Introducer Appointed Representative arrangement. The film has been brought to Blu-ray by the British Film Institute in an excellent package with many thoughtful features. Bait was shot on 16mm with a clockwork Bolex camera which wasn’t set up for synch sound, so the entire soundtrack was created later. At night she reads Teddy Goldsmith and Robert Allen’s A Blueprint for Survival (1972), an early eco-warning placing us in the apocalyptic terrain of TV’s Survivors (1975-77), Doom Watch (1970-72) and the Dr Who serial The Green Death (1973).Each morning, she drops a small rock down an abandoned mineshaft, a reminder of the area’s once thriving tin mining industry and she repeatedly reads Edward Goldsmith and Robert Allen’s environmental manifesto A Blueprint for Survival from 1972. The BFI's Dual Format Edition Blu-ray/DVD and the simultaneous exclusive streaming release on BFI Player, are both available from 8 May 2023.

Most disc booklets have just the one essay directly about the film itself, but Enys Men has generated four. 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. Enys Men is less easily classifiable, but it does contain elements of folk horror and is a ghost story of sorts. In this follow-up to his debut, Bait, a ship sunk in 1897's flotsam bobs into 1973, premonitory of a new sinking, remembered on a crackling radio report from now.

Left to her own devices, Amy meets local lad Josh (Gary Simmons), who has seen visions of a boy (Philip Martin) who speaks to him in Cornish. No doubt this served as an advertisement for tourism to the far South-West, whether actual for those near enough or well-off enough to go there (some of whom we see sunning themselves on the beach), or vicarious for those who were not. Mark Jenkin and fellow filmmaker Peter Strickland have a discussion on the processes and use of film sound, moderated by the BFI’s Douglas Weir, which took place at the BFI Southbank in January 2023.

They have been edited together for this release – you can tell the joins from changes in ambience – and play as an optional audio track on the main feature. Wood compares Jenkin to Roeg in several ways: as a director who is also his own cinematographer (as was Roeg on his first two films, after his previous career as a leading DP of the 1960s), in their use of editing to fragment time and space, and their use of landscape. UK / 2022 / colour / 90 mins / English language with optional subtitles for the Deaf and partial hearing, plus optional audio description / original aspect ratio 1. Strickland is a good choice for this discussion, as his own films have used sound in striking ways: it’s almost the entire subject matter of Berberian Sound Studio, for example. As Jenkin explains in an elegant commentary with Mark Kermode which otherwise insists on mystery, she soon slips into a mirror-image of her house, and her mindscape shifts.

Also included is a booklet featuring a fine set of essays on the film, as well as a director’s statement from Jenkin. These essays are followed by film credits and notes on and credits for the extras, including an extended note on Haunters of the Deep by Vic Pratt. Cover Notes: A wildlife volunteer's daily observations of a rare flower take a dark turn into the strange and metaphysical, forcing both her and viewers to question what is real and what is nightmare. Filmed on location around the disused tin mines of West Penwith, it is also an ode to Cornwall's rich folklore and natural beauty.

It was shot in 16mm, and it has a wonderfully desolate look that really pushes forward the sense of isolation for the island, using the Cornish landscape exquisitely. He says the reason the film is set in 1973 is a frivolous one, simply because he liked the look of the year when written down. com is an Introducer Appointed Representative of Pay4Later Limited, trading as Deko, which is authorised and regulated by the Financial Conduct Authority (FRN 728646). There’s no other information so this doesn’t tell you very much, but I refer you to the “Film Sounds” item, during which this shot is played and Jenkin effectively gives a live commentary on it.A wildlife volunteer’s (Mary Woodvine) daily observations of a rare flower take a dark turn into the strange and metaphysical, forcing both her and viewers to question what is real and what is nightmare. Legend had it that the 19 stones were the petrified remains of agroup of girls punished for dancing on a Sunday. Certainly the dialogue (all post-synchronised, along with the rest of the soundtrack) is clear and integrated with sound effects and Jenkin’s score and some diegetic music. Pace is measured, even for a not-especially-long film as this, and to my mind after two viewings it is over-extended.



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  • EAN: 764486781913
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