From Enys Men to The Witch: What’s behind cinema’s folk horror boom?

Eloise Hendy delves into the genre that turns the pastoral idyll into a place of terror, and asks what’s behind this obsession with the natural world, magic cults, standing stones and feminine powers

By Eloise Hendy

In Enys Men – the much-anticipated new film written and directed by Cornish filmmaker Mark Jenkin, whose last feature, Bait (2019), earned him a Bafta for Outstanding Debut – a woman in walking boots, jeans, and a translucent red anorak trudges across gorsy moorland towards a cliff face. She clambers down, perches on a rocky outcrop, and stares intently at a few white flowers as they sway in the wind, high above clamorous waves below.

Every day she studies these flowers. Then, every day she drops a rock into an abandoned tin mine’s inky depths, and stands listening for a distant thud. She returns to an isolated, ivy-covered cottage. A standing stone sticks out of the landscape like an ancient dagger-head. The woman pulls the cord of a power generator, makes a pot of tea, listens to the scratchy, indistinct noises of a radio communication device, and, in a logbook, records the date – April 1973 – and the words ‘”no change”. At bedtime, by candlelight, she reads an environmental manifesto titled Blueprint for Survival. Snatched glimpses of the cover reveal a quote in red: “Nightmarishly convincing… After reading it nothing quite seems the same any more.”

This phrase goes to the heart of this strange, spectral work of cinema. Even calling it a film feels wrong somehow; it feels more like a fever dream, or hallucination. For, almost as soon as the unnamed wildlife volunteer’s routine comes into focus for the viewer, it starts to fracture. Lichen blooms on her flowers and on a scar that stretches across her abdomen. Grubby-faced men holding pickaxes stare at her from the mineshaft; sailors lost at sea grin and drip outside her front door; a girl in white bell bottoms stands on the outhouse roof. Steadily, the whole far-flung landscape begins to teem with apparitions. They are both convincing and nightmarish; nothing quite seems the same any more. Is the volunteer losing her mind? Or merging with an ancient Cornish terrain – one riddled with myth and old scars, like her lichen-sprouting stomach?

In a statement accompanying Enys Men (which is pronounced Ennis Main, and means “stone island” in Cornish), Jenkin suggests his starting point for the film was a single question: “What if the landscape was not only alive, but sentient?” Long fascinated by Cornish standing stones and their accompanying legends – one of which imagines the rocks as the petrified remains of a group of young girls, punished for dancing – Jenkin found himself imagining what these stones and remote moorlands might get up to under cover of darkness. “Almost inevitably, considering the setting,” he writes, “the idea was inclined towards folk horror.”

Jenkin is far from the only contemporary filmmaker inclined in this direction. Indeed, for at least a decade we have been in the midst of a magnificent folk horror revival. But why has this strange subgenre of standing stones and spectral presences captured the imagination of filmmakers and audiences in the UK and beyond? What does the folk horror boom say about our contemporary fears?

The term itself only went mainstream in 2010, when Mark Gatiss used it in the BBC documentary series The History of Horror to describe three British films now known as the Unholy Trinity: Witchfinder General (1968), The Blood on Satan’s Claw (1971), and The Wicker Man (1973). It is certainly no coincidence then that Enys Men is set in 1973, as, making the film, it was precisely these cinematic roots Jenkin wanted to rummage in. “For me,” Jenkin writes, “folk horror has very English connotations. The stripping away of a pastoral layer of Merrie England to reveal an earlier Celtic and pagan past full of perceived brutality, deviance and threat.” Yet, since Gatiss first invoked the genre, cinemagoers on both sides of the Atlantic have been offered up Ben Wheatley’s Kill List (2011) and A Field in England (2013), Paul Wright’s For Those in Peril (2013), James Crow’s Curse of The Witching Tree (2015), Robert Egger’s The VVitch (subtitled “A New England Folktale”), Ari Aster’s Midsommar, Scott Cooper’s Antlers (2021) and, most recently, Alex Garland’s Men (2022). All present nightmarish visions of a deviant, occult and cult-addled countryside. And that is far from an exhaustive list. Continue reading

Cromer peregrine falcon nest attracted more than 13,000 bird fans

More than 13,000 people have visited a “watchpoint” to view a peregrine falcon nest in Cromer.

A nesting box was first set up after a peregrine was seen on Cromer Parish Church in Norfolk in 2018.

This year’s annual “peregrine watchpoint” attracted thousands of visitors over its five months.

The Cromer Peregrine Project (CPP) said this year the birds successfully reared two female falcons.

Source: Cromer peregrine falcon nest attracted more than 13,000 bird fans

The Unthanks’ “Diversions Vol. 1” turns ten, and still sounds beautiful

Sing Out! Review | THE UNTHANKS: Diversions Vol. 1 (Rough Trade 5112): by Bill Snyder

By Bill Snyder | Sept 2012

The Unthanks have always played loose with the folk traditions of their native Northumberland, England. Though their intricate chamber-like arrangements transform folk repertoire into something uniquely Unthank, they seem to reveal each song’s essence in the process.

On Diversions Vol. 1, they tackle the work of Antony Hegarty (Antony & The Johnsons) and Soft Machine cofounder Robert Wyatt in much the same way, dramatically reinterpreting each song and drilling down to its heart. There are no attempts to make these “folk songs,” and even the intricate vocal interplay between sisters Rachel and Becky Unthank loses much of its Celtic lilt.

Hegarty’s songs are sparse and filled with longing. The band treats them delicately, focusing on piano, and vocal-centric arrangements fleshed out by strings. It’s all about intimacy. Notably, “Man is the Baby” captures the struggle of the spirit’s need to soar with such intimacy it could have been performed in a living room. The show stopping “Today I Am a Boy” seems like its response as the sisters’ harmony do soar, with beauty and strength that invoke shudders if not tears.

Wyatt’s songs require a bigger sound, and the band steps up. “Dondestan” takes a trumpet melody and punctuates it with Rachel and Becky’s clogs creating the Northumberland equivalent of a hoedown — so energetic you’re hooked before realizing it’s a plea for displaced Palestinians.

“Sea Song” (the album’s highpoint) is cryptic, poetic and elegiac. Stripped largely to piano, accordion and Becky’s vocals, it taps a romantic sorrow, but ends with the entrance of violin and building harmonies: a hint of redemption.

This is truly a diversion from The Unthanks’ canon. Those looking for a folk album should probably pass. For those who have been transfixed by the band’s interpretations, arrangements, and vocal harmonies, though, it’s definitely a welcome diversion.

Source: THE UNTHANKS: Diversions Vol. 1 – Sing Out!

First osprey egg laid in southern England for 200 years

A pair of Western Ospreys has laid an egg at a secret site in the Poole Harbour area of Dorset, making it the first nesting attempt in southern England in almost 200 years.
The striking bird of prey was once widespread across Western Europe, but was routinely persecuted until becoming widely extirpated in the early 1800s. The nesting attempt is the result of an osprey reintroduction project which began in 2017, carried out by the charities Birds of Poole Harbour and Roy Dennis Wildlife Foundation in an effort to restore a population across its historic range.
The pair, known as CJ7 and 022, first met last spring having made their migration back to Poole Harbour from their wintering grounds in West Africa. The female, CJ7, first visited Poole Harbour in 2017 during the first year of the reintroduction project, but has shown interest in nesting here every year since, visiting purpose-built nesting platforms installed to attract ospreys to breed. The male, 022, was released as part of the reintroduction programme during 2019, before making his first migration and spending two years maturing in his wintering grounds. He then returned for the first time on 18 May 2021, which is when he first met CJ7, although he was too young to breed at the time. The couple spent the summer of 2021 pair bonding and establishing nesting territories, indicating that they were keen on breeding here in the future. Both left Poole Harbour in early September 2021 and those involved in the project kept everything crossed for their safe return this spring.
Paul Morton of Birds of Poole Harbour said: “When 022 and CJ7 left on migration last autumn, we then had an anxious time waiting seven months to see if they had survived the journey. Flying from Britain to West Africa and back again is incredibly dangerous, with the birds facing many challenges along the way including the Sahara Desert, adverse weather conditions and illegal hunting. Luckily they both returned safely earlier this month, with CJ7 arriving on 5 April and 022 a few days later on 10 April. Having spent the whole of last summer together their instincts to breed this summer kicked in straight away and the pair settled on a nest, which is exactly what we were hoping to see.”
Western Osprey’s diet consists solely of fish, which is one of the reasons Poole Harbour was selected for the reintroduction project. Ospreys that breed in Scotland and northern England pass through the harbour on migration each spring and autumn, feeding on species such as Grey Mullet and Flounder, before continuing on their journey. With the harbour’s large shallow channels and bays, ospreys find hunting incredibly easy and 022 can now regularly be seen hunting in the harbour. Should the breeding attempt be successful, he will be responsible for providing fish for the whole family throughout the rest of the season.

 

A pair is incubating at Poole Harbour in Dorset.

Best Bird Watching in England

By Sian Williams

If lockdown has made you more appreciative of the birds in your neighbourhood, why not further your interest with a visit to a bird reserve during your staycation?

Birdwatching doesn’t need to be an expensive hobby – you don’t need to buy a huge telescope like you see some twitchers carrying, just as you don’t need to sit for hours munching on sandwiches, praying for that one elusive bird to show up!

If lockdown has made you more appreciative of the birds in your neighbourhood, why not further your interest with a visit to a bird reserve during your staycation?

Birdwatching doesn’t need to be an expensive hobby – you don’t need to buy a huge telescope like you see some twitchers carrying, just as you don’t need to sit for hours munching on sandwiches, praying for that one elusive bird to show up!

A good pair of binoculars (many reserves offer them for sale, or check out second-hand pairs on sites such as eBay), a bird book or app so you can identify what’s in front of you, and a little bit of patience will reward you with an absorbing day out.

Although spring and summer are great for spotting birds during the breeding season, autumn and winter also offer a great deal of variety as many species prepare to migrate.

Bird-watching is truly a year-round activity the whole family can enjoy.

Here are our top nine bird-watching sites in England.

Farne Islands

Farne Islands
Farne Islands. Credit: DomWPhoto

A 20-minute boat trip will take you to the dramatic Farne Islands off the Northumberland coast.

Once home to saints and monks, today the tiny archipelago supports breeding colonies of several species of seabird. At the height of the season (May to June), you could see around 70,000 Puffins!

The islands are also a haven for Eider Ducks, Razorbills, Little Terns, Arctic Terns, and Sandwich Terns. Look out for seals basking on the rocks or swimming, too.

Find it: Boat trips to the Farne islands run from Seahouses. Check out SerenityBilly Shiel’s or Golden Gate. The National Trust cares for the islands; non-members must pay a landing fee in addition to the cost of the boat trip.

Find out more here.

Bempton Cliffs

Known locally as Seabird City, the towering white cliffs at Bempton, near Bridlington, in East Yorkshire, attract up to half a million seabirds every year.

Between March and October, they come to nest and raise their young, making this place a must-see for any bird-watcher.

The cries (and smells!) are unforgettable as thousands of birds swoop around you.

Look out for the Gannets with their startling blue eyes and large grey bills. True romantics, Gannets mate for life – and often the male will offer the female little gifts of flowers.

Bempton is the only mainland seabird colony in England, so you’re guaranteed to see ‘the big eight’ of species that visit our shores: Gannet, Guillemot, Puffin, Razorbill, Kittiwake, Fulmar, Shag and Herring Gull.

Find it: RSPB Bempton Cliffs, Cliff Lane, Bridlington, YO15 1JF

Find out more here.

Coombes Valley

A Redstart
A Redstart. Credit: SussexBirder

A lovely oak woodland in a steep-sided valley, this Staffordshire spot provides an ideal habitat for migratory birds such as the Pied Flycatcher, Redstart and Wood Warbler to nest.

A trail leads you around the site – look out for Dippers and Willow Tits in summer, and in winter, hundreds of Redwings and Fieldfare descend to feed on the berries.

A steep climb will take you to open moorland and pasture, where you may see Woodcock and Sparrowhawks.

Find it: RSPB Coombes & Churnet Valley Nature Reserve, Bradnop, Leek, ST13 7EU

Find out more here.

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