With his fourth film, Cornish director Mark Jenkin fuses his previous two outings into a hypnotic study of mental disintegration that, though its focus is a seemingly everyday person confronted by their demons in solitude (like his last film), makes a broader point (like the one before) about happier times in the British south-west’s economic history. To make that clearer, gentrification was the subject of his 2019 arthouse hit Bait , and creepy folklore figured strongly in his 2022 Cannes entry Enys Men . By contrast, Rose of Nevada is much more of an out-and-out genre piece than either, drifting closer to horror than the director ever has before, while retaining his haunting, glitchy, hand-distressed style, the cinematic equivalent of artist Francis Bacon’s distorted face pai

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