For much of the film, the soundstage is mostly in the front speakers, with surrounds used for ambience, but occasionally there is more use of those surrounds, for example a helicopter near the end of the film. There is no plot, really, but seams of connection between fragments of time, found in a woman’s psyche and a roiling, vivid landscape.

It’s full to the brim with haunting imagery that often feels very hallucinatory, and this is coupled with an incredibly impressionistic feel, certainly from the editing.

Whether you're looking for the latest blockbuster release, a TV series you want to binge, or a classic film - you'll find what you need in our categories. It’s a tribute to the film that they are able to take different approaches to the same hour-and-a-half-long feature. That’s where the emphasis of this essay lies, with Young linking Enys Men not only to such as Robert Bresson’s L’argent (paid tribute to in the opening shot, as Jenkin has said) but to those Ghost Stories for Christmas as The Signalman and also Stigma, which also features a stone circle. The lead role is played by Mary Woodvine (Jenkin’s partner), who had a supporting role in Bait, while second-billed as the supply boatman is Edward Rowe, who played the lead in the earlier film.

The otherwise nameless volunteer (Mary Woodvine) meanwhile lives alone on an island in ‘73, recording a rare flower’s daily condition, with the radio and a boatman’s supplies her only mainland contact. William Fowler contributes “Counting the Ways”, which is subtitled “Eleven Incomplete, Uncertain, Sometimes Contradictory Thoughts About Enys Men and its Relationship to Experimental Film”. The upcoming Blu-ray, DVD and VOD release date in the USA and UK and Cinema release date in the UK is to be announced.

Jenkin recorded these while he was making Enys Men, and they were broadcast in short instalments on BBC Radio 4’s now-defunct The Film Programme. The transfer has plenty of grain, as you would expect from its 16mm origins, and some of the colours, reds especially do pop, due to stopping the camera down and pushing the film during processing. Given that for much of the film there is only one person on screen, dialogue is sparse, so for much of the time Jenkin is showing rather than telling, and often doing so by means of editing.

Its creative approach to the narrative may make it feel inaccessible to some, but let it flow over you and soak it in. In this follow-up to his debut, Bait, a ship sunk in 1897's flotsam bobs into 1973, premonitory of a new sinking, remembered on a crackling radio report from now. There’s no other information so this doesn’t tell you very much, but I refer you to the “Film Sounds” item, during which this shot is played and Jenkin effectively gives a live commentary on it. Certain items can take longer to source than the estimated week, particularly during busy trading periods and may take longer to arrive at our warehouse. Young points out that the year when Enys Men is set, 1973, was a significant one for British horror, seeing the release of The Wicker Man and Don’t Look Now (on a double bill) and The Stone Tape had been broadcast on the previous Christmas Day.It’s not really a traditional narrative piece, much more a kind of puzzle perhaps, and it’s very much a film that you begin to decode as the imagery and the sound soak in. As we traveled home from seeing the girls I would glimpse the tall, imposing figures of The Pipers, above the hedges, through the gateways, silhouetted against the sky. Enys Men is a mind-bending Cornish folk horror set in 1973 that unfolds on an uninhabited island off the Cornish coast. It reminds me a lot of Nicolas Roeg’s classic horror Don’t Look Now, especially the use of primary colours and the way it approaches the viewer and asks them to interpret the film. We see the patterned grille of a battered Dansette transistor radio in an almost abstract close-up, a rattling red generator located just outside the house and a jar of Seven Maids Dried Skimmed Milk, a fictional brand that foreshadows a strikingly odd scene later on.

Legend has it that the stones, nineteen of them, were girls punished for dancing on a Sunday by being turned into stone. Legend had it that the 19 stones were the petrified remains of agroup of girls punished for dancing on a Sunday.As that subtitle indicates, this is in eleven subsections and Fowler tackles the films use of folk-horror elements but also its subversion of our expectations and its breakdown of a conventional narrative. Its Cornish themes are sunk just as deep, in a tin mine whose miners rise up and lifeboatmen dashed on rocks, violent history also infecting the volunteer’s scar. These images, formed at an impressionable age stayed with me, and some nights, even now, I find myself lying awake, wondering about those stones. A static single shot, in black and white, of Jenkin in his studio recording the film score, using tape loops and a small synthesiser keyboard.