George MacKay (Nick, left) and Callum Turner (Liam) embark on a haunting journey home.
Credit: Ian Kingsnorth, BFI
The Rose of Nevada
Directed by Mark Jenkin
Now showing in UK cinemas. US release on June 19th.
Time functions oddly in desolate locations—this is the central theme of The Rose of Nevada, directed by Mark Jenkin. The film unfolds in a once-thriving fishing village in Cornwall, England, now bereft of its inhabitants and industry. Only a few souls linger amongst the deserted pubs and derelict moorings, remnants of a once-prosperous past. The sea itself feels lifeless.
What more fitting backdrop for a ghost story than this ghost town? After all, aren’t ghosts merely echoes of time? This village exists outside conventional chronology. Three decades ago, a fishing boat and its ill-fated crew tragically vanished at sea, and their absence resonates throughout the village. The tragedy remains unresolved until the re-emergence of the vividly colored Nevada Rose in the harbor.
For Nick (George MacKay), the boat’s return comes at a crucial juncture. As a husband and father struggling to stay afloat, the arrival of the Nevada Rose seems fortuitous. Liam (Callum Turner), an itinerant worker who sleeps on docks, also finds hope when he is recruited by Mike (Edward Lowe), the owner of the Rose of Nevada. They are guided by the seasoned rental captain, Margie (Frances McGee), who has a mysterious connection to the once-missing vessel.
Together, the trio sets sail, hoping to catch enough fish to repair Nick’s leaking roof, pad Liam’s pockets, and perhaps save their village. However, upon the Nevada Rose’s return to shore, something feels amiss. Time has looped back 30 years, and Liam becomes confused for two local men: Alan, an absentee father who vanished with the Rose of Nevada, and Nick, a fisherman haunted by the guilt of missed work on that tragic day.
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What better place to set a ghost story than a ghost town? After all, what is a ghost if not a coincidence of time?
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The implications of this twist and the narrative that follows are open to interpretation. The emotional weight of The Rose of Nevada is palpable, particularly in McKay’s compelling portrayal of Nick. Navigating his past, Nick finds comfort in the empty house of long-lost neighbors who mistake him for their son, uncovering a note of love from his wife on the day he left.
The film’s mesmerizing sequences at sea offer tension and tranquility. For Nick, fishing transcends mere survival—it’s a recurring rhythm that brings him clarity amidst chaos. The quest is not just for Nick but for the entire village waiting for his return.
The Rose of Nevada marks the third installment of Jenkin’s Cornwall trilogy. The first, Feed, explores the negative impacts of tourism on a coastal community, while the second, Ennismen, follows a solitary wildlife volunteer on a remote island grappling with hallucinations. This film encapsulates themes from both predecessors with its stunning visuals and haunting setting. The iconic hand-cranked Bolex camera used in the earlier films succumbed just as this latest installment reached completion, marking a poignant end to Jenkin’s trilogy.
If this marks the conclusion of Jenkin’s journey, it will be a bittersweet farewell. His unique storytelling deserves further exploration within this picturesque Cornish setting. The Rose of Nevada stands as a significant achievement—an unforgettable tale of lost time, borrowed moments, and the quest for redemption.
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George MacKay’s recent performances, especially in Fam, demonstrate his versatility. In this gripping thriller, he plays Preston, a man embroiled in a violent act that comes back to haunt him when he unexpectedly reunites with Jules (Nathan Stewart-Jarrett) at a gay sauna.
Bethan Ackerley is the associate editor at New Scientist. Her interests span science fiction, comedy, and the supernatural. Follow her on Twitter @inkerley
Source: www.newscientist.com
