35mm
New Release
Main Slate
CC

Rose of Nevada

Mark Jenkin

The singular Cornish filmmaker Mark Jenkin (Enys Men, NYFF60) immerses the viewer in the uncanny environments of the small towns along the coast of Cornwall, here spinning a sci-fi-tinged tale of dislocation and regeneration starring George MacKay and Callum Turner.

Showtimes

Fri, June 19

Sat, June 20

Sun, June 21

Mon, June 22

35mm screening + Q&A

with Mark Jenkin

Friday, June 19

Saturday, June 20

Sunday, June 21

35mm screening

Saturday, June 20

Sunday, June 21

DIRECTOR
Mark Jenkin
YEAR
2025
COUNTRY
U.K.
RUNTIME
114 minutes
FORMAT
35mm
START DATE
June 19, 2026

The following screenings are presented on 35mm, with select Q&As with director Mark Jenkin:

  • Friday, June 19 at 6:15pm – Q&A w. Mark Jenkin, moderated by Tyler Wilson
  • Saturday, June 20 at 3:45pm
  • Saturday, June 20 at 6:15pm – Q&A w. Mark Jenkin, moderated by Brandon Streussnig
  • Sunday, June 21 at 1:15pm – Q&A w. Mark Jenkin, moderated by David Fear
  • Sunday, June 21 at 4:15pm

The singular Cornish filmmaker Mark Jenkin (Enys Men) brings his distinctive and bold storytelling approach to his most expansive work yet. Again immersing the viewer in the uncanny environments of the small towns along the coast of Cornwall, Jenkin spins a sci-fi-tinged tale of dislocation and regeneration. In a tiny, sparsely populated fishing village, a boat that had been lost at sea 30 years ago, the Rose of Nevada, suddenly reappears portside, fully intact and without its long-missing crew. Two local neophyte fishermen desperate for work (George MacKay and Callum Turner) take jobs on the boat as it sets out for a good-luck return voyage. When they return, all is no longer what it once was. Shot on 16mm, this earthy, psychological portrait of a working-class community’s cyclical existence is an atmospheric plunge into the eerie. An NYFF63 Main Slate selection. A 1-2 Special release.

CCAP available for non-OC, DCP screenings.

The most mesmerizing film of the year thus far. Critic's Pick!”
Brandon Yu, The New York Times
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