Mark Jenkin writes, directs, edits, shoots, and scores “Rose of Nevada”, a hypnotic fusion of rural drama and science-fiction, with ghost story elements sprinkled in to boot. The film has the feel of an old memory play although without the use of narration as a centering device. It remains mysterious, haunting, and at times utterly spellbinding. I found myself captivated, not only by its unconventional storytelling, but also by the impressive craftsmanship behind every shot.

“Rose of Nevada” grabs your attention from its first frame with its striking visual style and rich, post-production sound design. Jenkin shot his movie using a vintage clockwork Bolex camera on 16mm film stock. The 4:3 aspect ratio intensifies the focus while the grainy texture and highly saturated colors give the images both lived-in and dreamlike qualities. It quickly becomes a transporting experience that often has us questioning while admiring what we’re seeing.

The story takes place in a once bustling fishing village in Cornwall that has since become a shell of what it formerly was. It all changed three years ago, when the village’s fishing boat went out to sea and never returned. Besides the tragedy of losing two local fisherman, the village also lost its chief source of revenue. The few people who remain find themselves struggling to make ends meet. But the proverbial tide turns after the boat makes a stunning reappearance.

After three years, the village’s lost fishing boat called the “Rose of Nevada” mysteriously floats back into port. No one’s onboard but there are signs of the crew who worked it. Desperate to save what’s left of their town, a local businessman named Mike (Edward Rowe) decides to send the boat back out. He hires a salty sea captain named Murgey (Francis Magee) and two deckhands, a local husband and father named Nick (George MacKay) and a drifter named Liam (Callum Turner).

Jenkin’s attention to detail adds a visual richness to the compositions that evokes an array of feelings. In one sense, it helps things to feel true and organic. It feels as if we are embedded in the suffering community or aboard the cramped fishing boat. At the same time, Jenkin deftly skews our sense of reality with his illusory lensing. Cryptic imagery transports us back in time while creative touches, like cleverly incorporated film burns, leave the impression we’re moving in and out of a dream.

This comes more clearly into focus after Nick and Liam return home. I won’t dare spoil what they discover, but it sets two uniquely different paths in front of them that neither are quite prepared for. And it gives shape to the movie’s deeper themes of loss, sacrifice, second chances, and socio-economic decline. Meanwhile strong supporting work from Rosalind Eleazar, Yana Penrose, and Mae Voogd adds moral and emotional stakes to this enigmatic tale.

“Rose of Nevada” is one of the most visually absorbing and strikingly immersive films I’ve experienced in some time. Jenkin’s unique cinematic style mixed with perfectly tuned performances creates a deeply evocative experience that lures you in and keeps you engaged with its mesmerizing rhythm and mysterious allure. It’s a strange movie in many regards. But it’s not hard to get in sync with it. And once you do, you simply can’t break its hold on you.