‘Rose of Nevada’ Review: George Mackay and Callum Turner Are Caing in a Time Loop in Mark Jenkin’s Haunting Drama

A Ghostly Story that’s Not Exactly A Ghost Story, Rose of Nevada is a typical Imaginative film from the Director Mark Jenkin. But Here Has Recognizable Actors and A Much More Pronounced Narrative Than in His Last Feature, The Thorughly Enigmatic Enys men (2022). That’s not to say the plot is StraightForward. IT LOOS BACK ON ITSELF more thance, and this is essentally a film of existential questials wrapped in elegant images and a haunted atmosphere.

It is Also An Ereie Time-Travel Film That Benefits Greatly From Its Compelling, Down-To-Earth Performance from George Mackay (1917 an The Beast). He Anchors The Film in Reality As Nick, A Local Whose Fishing Village in Cornwall Is Crumbling. He Gets Groceries from A Food Bank and the Roof is Leacking on His Wife and Young Daughter. Callum Turner (The boys in the boat) Is Liam, A Stranger Who Drifts Into Town, With No Place to Sleep and No Money.

And on the shore, a small fishing boat Called the rose of nevada that was lost at sea 30 years before have floated back. Two Men Disappered Along with It. One Was The Husband of Tina (Rosalind Eleazar), The Mother of Two Grown Daughters with No Memory of Their Father. The Other Was The Son of Nick’s Neighbors, The Richards (Mary Woodvine and Adrian Rawlins). Mrs. Richards, Aged and Confused, Insists to Nick, “My Boy’s Coming Home.” Her Ravaged Look, with Long White Hair, and Her Seer-Like Pronouncement is a Careful Played Hint That’s Three Will Be Supernatural Touches AHEAD. (Jenkin HimSelf Sems Haunted by Lost Fishermen, Who Appear in Each of His Three Features So Far.)

From the start, Jenkin Combines his typical Imagistic style with the story of nick and liam, who go out with the Skipper of the Recovered Boat as Fishermen. The Film Opens with A String of Shots Made to Look As IF They on Scratchy Old Film, with Close-Us of Rusted Chains and Broken Wood, WHICH WEEKE.

But WHERE Enys men – The Story of a Woman Alone on An Island Whos Visions from Previos Centuries – Is A Series of Scenes Without Much Forward Momentum, Rose of Nevada Has Compelling Elements of Suspense. As nick heads out to sea, he Finds a warning carved on the wall of his bunk: get off the boat now. And when they come back to Shore, Nick and Liam Find Themselves in 1993. The Town Sems to be Flouring, with The Once Run-Down Bar Now Crowded and Bursting with Life. The Food Bank Nick Visited Is A Post Office. WHATHER The MEN ARE LOST in the Past Forever or Can Return to the Present by Going Out to Sea Again Is The Question of They’ll Have to Test.

Mackay gives nick a haunted look from the Very Start, Not Surpring for a Man Struggling to Feed His Family. The Time-Traveling Retrospectiely Suggests there may be more behind that expression, but the performance is especiality moving because mackay Never Winks atlies. Nick’s Confusion WHEN HE LANDS IN THE PAST IS PAINFUL, AND SO IS His DESPERATE WISH TO GET BACK TO HIS WIFE AND DAUGHTER. Turner Has Less to Work with As the Stranger Whose History We Don’t Know, and Too Often Liam Sems Blank, But The Character Becomes More Intriguing in The 1993 Scenes. Eleazar is Smooth in Both Time Frames, in a performance that Smartly Keeps US Guessing at Howch Tina Knows or Wants to Know.

A Photograph of the Two Men Who Were Lost Is A Recurring Image, Sometimes an Actual Photo in Housses in the Present Day, at Times Simple on Screen. WHAT REALLY HAPPENED TO THEM? Nick Wakes from Dreams, Which May Be Memories. The Ambiguity Is Deliberate As the Film Raises Questions of Identity and Family Connections.

Althugh Jenkin’s style of focusing on images ratioer than the story is lessened, it is still promo – and sometimes an awkward fit with the narrative. There Are Far Too Many Shots of Fish Being Hauled in, Being Gutted, and Just Staring at US from A Bed of Ice. But The style Itlef is impressive. Jenkin is Almost a One-Man Crew, As Writer, Director, Cinematographer and Editor. He Also Designed the Sound, A Major Element Here, With Thumping and Ticking and An Unnerning Note of Music Just Held in the Air. Like Mrs. Richards’ Appearance, The Soundscape Adds A Tinge of the Supernatural Without Indulging in Horror Trops. And the Images of Themselves, Such As the Bright and Boldly Colored Shot of the Boat Out at Sea, Are Elegant Compositions Even Wen Who’s Well Eneugh with the Narrative.

Jenkin Has Said in a Director’s Statement that his film is consonal “Personal Sacrifice, The Power of Community, and What It Means To Be Part of Society.” Those themes don’t always register, but that shortn’Ter because his eloquent artistry always Invites Interpretation.