Bait

A wildlife volunteer on an uninhabited island off the British coast descends into a terrifying madness that challenges her grip on reality and pushes her into a living nightmare.

A mysterious boat returns to a village 30 years after vanishing. Two men join its crew hoping for better fortune. After one voyage, they find themselves transported back in time, mistaken for the original crew.

Nick Darke, who comes from a long line of beachcombers ("wreckers", to use the Cornish term), traces the origins of all the items that he has discovered during one stormy winter while beachcombing along the coast of Cornwall near his home. Some of the objects have come from as far away as Labrador or the Amazon Basin.

A vision of transatlantic commonality.

Combining fact and informed speculation with cutting-edge computer graphics and animatronics effects, the series set out to create the most accurate portrayal of prehistoric animals ever seen on the screen.

One of the Bait director’s earliest shorts is a nightmarish vision of life spent behind the wheel, where time melts and car becomes prison. Despite its low budget, The Man Who Needed A Traffic Light sews all the seeds for Bait, and shows the vision in progress of one of Britain’s most exciting filmmakers.

A poet is driven to complete a poem within an old writing case by the ghost of the last owner.

A Cornishman's travels in Ireland, through Wexford, Waterford and Cork in search of the familiar.

A film poem, that is quiet and angry.

A mysterious boat returns to a village 30 years after vanishing. Two men join its crew hoping for better fortune. After one voyage, they find themselves transported back in time, mistaken for the original crew.

A young couple quest for a roof in this Cornwall-set drama with the atmosphere of a thriller, made with hand-developed B&W 16mm.

A walk through England’s south coast evokes the artists who lived and worked there.

British filmmaker Mark Jenkin (whose latest feature Enys Men is part of this year’s Main Slate) mails this postcard from a melancholic holiday in New York and its environs, rendering the city in grainy monochrome Super 8 and a familiar urban soundtrack of jackhammers and traffic hum. In voiceover, the filmmaker relates his experiences of celeb-spotting and visiting movie locales, buying overpriced essentials, and counting MAGA bumper stickers on Long Island.

A wildlife volunteer on an uninhabited island off the British coast descends into a terrifying madness that challenges her grip on reality and pushes her into a living nightmare.

The Newlyn School of artists flourished at the beginning of the 20th Century and the film focuses on the wild and bohemian Lamorna Group, which included Alfred Munnings and Laura and Harold Knight. The incendiary anti-Modernist Munnings, now regarded as one of Britain's most sought-after artists, is at the centre of the complex love triangle, involving aspiring artist Florence Carter-Wood and Gilbert Evans, the land agent in charge of the Lamorna Valley estate. True - and deeply moving - the story is played out against the timeless beauty of the Cornish coast, in the approaching shadow of The Great War.

The curious joy in the warm passing of time is most acute in the long shadows of the end of the line autumn coming stillness

Mark Jenkin's 2015 short film is a homage to the spontaneous prose of The Beats, from the mythical Cornish west.

"In 1993 I travelled to London from Cornwall with the intention of shooting a music video for 'London' by The Smiths. I had transcribed the lyrics and noted the timings and had then made a detailed shot-list. The whole thing would be edited in camera on a single roll of Super 8. Over the next few years I projected the film so many times that much of it became damaged. Here is what is left of that first roll, inter-cut with footage shot a few years ago in East London when I started shooting film again." - Mark Jenkin