Mark Jenkin
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Filmography
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Connections, in both directions
It’s also fodder for an engrossing riddle pulled directly from the Rod Serling playbook. But don’t expect even a hint of an explanation. As was the case with “The Twilight Zone,” you either go with it, or you don’t…
The psychological drama is dense, like a particularly confounding episode of “The Twilight Zone,”…
Maybe the actual second warning was seeing The Dead Zone, David Cronenberg’s famous 1983 sci-fi thriller, playing on a TV a little earlier.
The movie earns a terrific Dead Zone reference along the way…
Cheekily, at one point 1980s psychological horror The Dead Zone plays on a TV.
…as if this were a miserablist Back to the Future…
…we flit into the 1990s for what has to be one of the weirdest, most indie “Back to the Future” riffs in cinema history…
Viewers looking for pure narrative would do well to watch The Lighthouse or Event Horizon…
In the third act, the film strongly evokes Robert Eggers’ The Lighthouse, particularly in its use of sound and descent into something more surreal and intense.
…more than anything else, this film evokes Jean Epstein’s gorgeous Le Tempestaire (1947)…
…it reminded me of Agnes Varda’s seaside-set La Pointe Courte, which was also largely defined by evocative insert shots…
It makes “La Jetée” (1962) feel mainstream.
…grainy 16mm images that bear a close textural resemblance to the Cornwall of Sam Peckinpah’s 1971 thriller Straw Dogs…
…or the fictional Scottish “Summerisle” of the 1973 cult classic The Wicker Man…
…it feels like a slow curse has settled into the town like the mysterious mist in John Carpenter’s The Fog…
Those who have seen the provocative documentary "Leviathan" may have flashbacks during these sequences.
…it’s a dark and twisted version of For the Plasma…
It’s an inverse L’avventura…
Take the enchanted mask granting reality-bending powers from The Mask.
…watch The Lighthouse or Event Horizon (a movie with an interesting amount of shared DNA for all its wild dissimilarities)…
…low-fi puzzle films like Aronofsky’s Pi…
…it feels like a Lost subplot with a fraction of the budget and commercial appeal…
VistaVision is having a comeback via Brady Corbet’s “The Brutalist”…
Rhayne Vermette’s Levers was shot on broken Bolex cameras, according to the filmmaker, and begins, after a brief prelude of scratched leader, with a close-up of metal spikes being hammered into the rough surface of a stone.
Alexandre Koberidze’s Dry Leaf was shot on an old Sony Ericsson phone, which produces blurry, pixelated images that pulse slightly: a low-res digital equivalent of impressionist paintings made from thick dabs of color.