It’s not exactly second nature to associate the work of Mark Jenkin with heady science fiction, particularly of the time-slipping variety. Jenkin notably shoots using a Bolex, a wind-up camera that records on 16-millimeter film but records no audio whatsoever. Not only does the filmmaker have to record every possible sound effect (including his actors’ dialogue) in postproduction, but he can only capture scenes 27 seconds at a time. That turns the prospect of even making a movie feel nearly impossible — much less that of a higher concept.
In truth, though, all of Jenkin’s works twist the concept of time with a lo-fi scope. His debut, Bait, played with temporal displacement. Ditto for his psychologically searing Enys Men — but his third feature, Rose of Nevada, might be his most straightforward take on the subgenre.
