"No change." "No change." "No change." "No change." Every day, the woman (Mary Woodvine) makes a note in a ledger book about a certain flower she's observing, a white flower clinging to the side of a rocky cliff. Days pass. "No change." Until one day, there's a change. The entire page listing "No change" is in stark contrast to the woman's daily experiential reality, as well as our experiential reality watching "Enys Men," Mark Jenkin's second feature film. Every moment appears to be in a state of cataclysmic flux, so much so that it's not clear what is real and what isn't. In the face of all the evidence, "No change" takes on an ominous resonance.

But everything is changing. There are times when it's not clear whether or not she is alone on this lonely island. Figures appear. A white-haired man is standing outside at night. A woman stands on her roof. Or shows up in the next room. There are moments when she is suddenly surrounded by seven girls, all wearing white hoods and white aprons. Underground, in the dripping rocky darkness, miners cluster, staring up at her, candles attached to their helmets. Ghosts of the past residents of the island? A yellow raincoat seems to suggest a man was here, maybe there was a boat crash. Maybe the pointed rock in the middle of the field is a magnetic force, vibrating with energies past and present. The sound design amplifies the minute (her boots scraping against pebbles), and silence suddenly booms. The radio crackles to life with indecipherable messages.


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