{"id":704,"date":"2026-06-27T15:05:26","date_gmt":"2026-06-27T15:05:26","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=704"},"modified":"2026-06-27T15:05:26","modified_gmt":"2026-06-27T15:05:26","slug":"the-coastal-mysteries-of-romeria-and-rose-of-nevada","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=704","title":{"rendered":"The Coastal Mysteries of \u201cRomer\u00eda\u201d and \u201cRose of Nevada\u201d"},"content":{"rendered":"
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The movie-release calendar, though often arbitrarily assembled, can sometimes place seemingly unrelated works in meaningful proximity\u2014and in conversation. By what I assume is a happy coincidence, rather than any shrewd connivance on the part of their American distributors, two richly complementary films from overseas have washed ashore this month. Both are coastal affairs, and together they form a most see-worthy midsummer double bill, brought to you by the color blue. \u201cRomer\u00eda,\u201d from the Catalan director Carla Sim\u00f3n, takes place in and around Vigo, a city on Spain\u2019s northwest shore, where the sun streams down on yachts, swimming pools, and other emblems of a family\u2019s estimable wealth. \u201cRose of Nevada,\u201d from the English filmmaker Mark Jenkin, trawls the waters near a dour Cornish village, where grotty fishing boats are lashed by torrential rains. Sim\u00f3n\u2019s film is semi-autobiographical; Jenkin\u2019s couldn\u2019t possibly be. And yet both films are mysteries of a sort, predicated on hidden identities, distant tragedies, lost loved ones, and a whimsical element of time travel.<\/p>\n

Read more Scenes from La Canicule in Paris<\/a><\/p>\n

The protagonist of \u201cRomer\u00eda\u201d is a sensitive, watchful eighteen-year-old, Marina (Ll\u00facia Garcia)\u2014named for the sea, of course, though which one is never made clear. Perhaps the Mediterranean, given that she was raised in Barcelona, by adoptive parents. Then again, maybe the Atlantic, near Vigo, where her biological parents met and fell in love. They were heroin users who died from AIDS<\/em> when Marina was a young girl; she never met her father, Fon, and has only faint memories of her unnamed mother. When the film begins, in July, 2004, Marina has just arrived in Vigo, where she\u2019s about to meet her relatives on Fon\u2019s side, some of them for the first time. The visit is a matter of necessity: she\u2019s headed to university in the fall, and, in order to secure a scholarship, she needs official acknowledgment of her lineage. For reasons that will take some time to piece together, her grandparents are not keen to recognize her.<\/p>\n

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Marina plans to study cinema, which is how you know she\u2019s a stand-in for the director. (Sim\u00f3n also fictionalized her childhood in her d\u00e9but feature, \u201cSummer 1993,\u201d which followed a six-year-old girl in the aftermath of her mother\u2019s AIDS<\/em>-related death.) Early on in \u201cRomer\u00eda\u201d\u2014the title means \u201cpilgrimage\u201d\u2014Marina stands on the deck of a ferry, aiming a camcorder out at the water. Throughout the film, we see her footage of Vigo and its surroundings, overlaid with audio excerpts from her late mother\u2019s diary\u2014a moving act of artistic communion, meant to bring a woman\u2019s long-ago musings back to life and into the present. \u201cSometimes it\u2019s calm, blue, peaceful. Sometimes wild, choppy,\u201d her mom wrote of this very sea, viewed from the apartment she shared with Marina\u2019s father. The cool quietude of Sim\u00f3n\u2019s film\u2014scene after scene is gently controlled and briskly observed\u2014gives way just as suddenly to unruly gusts of feeling.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Sim\u00f3n plots out the tensions and affinities within this sprawling family with an on-the-fly deftness that never feels diagrammatic; it takes a while to glean exactly how everyone\u2019s related, but the details matter less than the emotional texture. We blanch at a thoughtless cousin who mocks Marina for avoiding drugs and alcohol, never wondering why the child of addicts might want to steer clear. And we warm to Marina\u2019s more supportive aunt and uncles, even when their kindness feels clouded by guilt, regret, vague memories, and outright lies. What year did Fon pass, and why did he never come to Barcelona to visit his daughter before then? Is it true that Fon, like others whose families feared the stigmas of addiction and AIDS<\/em>, was kept hidden away, to die in seclusion?<\/p>\n

Marina, for her part, reacts to every new face and each fresh piece of information with an instinctive guardedness\u2014and Garcia illuminates, with an almost sphinx-like half smile, the preternatural reserve of someone who\u2019s grown up knowing not to expect too much from people. It\u2019s a minor thrill when she actually pushes back, as when she calls out her well-meaning uncle Lois (Trist\u00e1n Ulloa) for trying to brush aside a shameful secret, or when she seizes a moment of petty but satisfying revenge on her thoroughly contemptible grandmother (Marina Troncoso). Ultimately, though, Marina wants the least of what she\u2019s due: an acknowledgment of identity that will secure her education, and quite possibly her future.<\/p>\n

Yes, she may also be in search of dramatic material\u2014and senses, correctly, that her family history is complex enough to provide it. In the final stretch of \u201cRomer\u00eda,\u201d Sim\u00f3n ruptures her own cool, keen-eyed realism with a dazzling plunge into the past. We are suddenly in the nineteen-eighties, and Marina\u2019s parents are before us, alive, if not entirely well\u2014deeply in love with each other, but also with the substances that will prove their undoing. Marina\u2019s father is played by Mitch Mart\u00edn, who\u2019s popped up earlier in the film as one of Marina\u2019s cousins; Marina\u2019s mother is played by Garcia herself. There\u2019s a faintly incestuous frisson in the decision to cast the same two actors as cousins and lovers in different contexts, but the choice also conjures a kind of intergenerational paradox: only when we see ourselves reflected in our parents\u2019 faces, perhaps, can we fully appreciate them as individuals in their own right. Back in the present, Marina leaves Vigo with a clutch of new relationships and an understanding of her own origins that had previously eluded her. You\u2019re eager to see where she goes from here, and what films she makes next. Sim\u00f3n, too.<\/p>\n

In the opening moments of \u201cRose of Nevada,\u201d the title character, a rusty old fishing vessel with a cherry-red hull, is found moored in the harbor of a depressed-looking West Cornish village. Nothing too out of the ordinary, except that this particular boat hasn\u2019t been seen since 1993, thirty years earlier, when it capsized\u2014a tragedy from which the town has never recovered, spiritually or economically. How the Rose returned, seemingly none the worse for wear, is a total mystery. \u201cJesus Christ,\u201d mutters the boat\u2019s owner, Mike (Edward Rowe), and then, a few moments later: \u201cShe\u2019s back.\u201d A filmmaker in a cheekier mood might have written that line as \u201cShe\u2019s baaaaaaack<\/em>,\u201d but Mark Jenkin brings an unwinking seriousness\u2014and a rigorous sense of place and process\u2014to every note of this unapologetically preposterous story, which he co-wrote with his longtime collaborator and partner, the actor Mary Woodvine. Even his musical instincts are those of a briny realist: the score, which he penned himself, sounds as ominous and incessant as a foghorn. It\u2019s this commitment to physical verisimilitude that makes Jenkin\u2019s sudden swerve into supernatural waters so startling\u2014and so enveloping.<\/p>\n

Read more The Evolution of Messi<\/a><\/p>\n

The resurfaced ghost ship, Mike decides, will be placed back in operation. Two young men are hired as crew members: Liam (Callum Turner), a sullen-faced drifter, and Nick (George MacKay), a sombre-eyed local who\u2019s struggling to provide for his wife (Mae Voogd) and their young daughter. Their maiden voyage is improbably successful, the depleted waters somehow yielding a bountiful haul. Talk about something fishy, though it\u2019s only back on dry land that the men realize what, exactly. The Rose of Nevada has transported them back to August, 1993\u2014before the boat was lost, and before Nick was even born. The town is suddenly thriving: a pub is crowded with noisy patrons, and a present-day food bank has been restored to its former life as a post office. Compounding these mind-boggling impossibilities, the two men have been gifted new identities. Everyone mistakes Nick for Luke, who, in the other time line, survived the shipwreck and then died by suicide. (Woodvine, the lead of \u201cEnys Men,\u201d Jenkin\u2019s psychological-horror film from 2022, resurfaces here as Luke\u2019s loving mother.) Liam has slipped into the boots of another crew member, Alan, and thus into the home of Alan\u2019s girlfriend, Tina (Rosalind Eleazar), and kid daughter, Jess.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Even before the chronology starts to go haywire, the film has the mood of the past in its chilly bones. Jenkin is a devoted multi-talent\u2014here, as with \u201cBait\u201d (2019) and \u201cEnys Men,\u201d he serves as his own cinematographer, editor, and composer\u2014and his methods, rooted in primitive instruments and techniques, might be classified as their own form of cinematic time travel. He shot most of \u201cRose of Nevada\u201d with a spring-wound 16-mm. Bolex camera, which accounts for both the lightly flickering grain of the images and the short duration of every shot. (Because the Bolex camera is operated by a crank, each shot lasts no more than twenty to thirty seconds.) The editing rhythms are clipped and almost metronomically precise; individual scenes feel less composed than synthesized from an array of swift, gestural fragments\u2014a hand on a doorknob, a face at the window\u2014which have the effect of heightening your attention. Each sequence becomes a puzzle that you solve by watching.<\/p>\n

Jenkin is especially fond of intense closeups, which he uses not only to showcase his actors to great effect\u2014Turner\u2019s whatever-mate pessimism can be as mesmerizing as MacKay\u2019s wide-eyed disbelief\u2014but also to saturate us in small-town decay. Early on, he compels us to survey the grubby textures of peeling paint, rotting wood, and moldering drywall; later, at sea, he immerses us so fully in the arduousness of Nick and Liam\u2019s labor that the movie comes to resemble an observational documentary, focussed on the winching of thick steel cables, the untying of newly filled nets, and, finally, the meticulous gutting of the ocean\u2019s bounty (\u201cfrom head to asshole,\u201d the skipper instructs them). There\u2019s a beguiling synchronicity between the two disciplines under scrutiny here\u2014fishing and filmmaking\u2014both of which, Jenkin reminds us, are strenuous physical activities, dependent on precise timing, know-how, energy, stamina, heavy-duty equipment, and a hardworking crew.<\/p>\n

Even amid all this clanging machinery, the human element is never lost. Whenever the camera turns toward Eleazar\u2019s Tina, her sadness exerts an often wordless emotional pull; she\u2019s the reason why the previously untethered Liam is content to stay in this warped time line. Fate has bequeathed him a partner and a child he comes to love\u2014just as it has separated Nick from his partner and child, possibly forever. (At one point, Nick attempts a form of time-travel communication that reminded me of the Korean romantic fantasy \u201cIl Mare,\u201d best known to American audiences as the movie that inspired the irresistibly drippy Keanu Reeves\u2013Sandra Bullock vehicle \u201cThe Lake House.\u201d)<\/p>\n

But is there hope in starting over in an entirely new life? At one key moment, Nick envisions his wife standing before him on the docks, whispering, \u201cThere\u2019s no time\u201d\u2014a line that, depending on how you read it, sounds either ominous or liberating. As a story of time and tide waiting for no man, \u201cRose of Nevada\u201d is haunting, bittersweet, and a little scary. As a filmed object, it\u2019s even more fascinating: a movie that, through the sheer idiosyncrasy of its construction and the implausibility of its existence, seems to both mourn and defy the medium\u2019s decline. If cinema is a sinking vessel, as so many are eager to suggest, its rusty hull may yet contain treasures worth scraping off and scrutinizing anew. \u2666<\/p>\n

Read more Can J. D. Vance Serve Both God and Donald Trump?<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

In rich, melancholy new films from the directors Carla Sim\u00f3n and Mark Jenkin, the restorative power of cinema turns out to be a shore thing.<\/p>\n","protected":false},"author":1,"featured_media":703,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-704","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-current-cinema"],"yoast_head":"\nThe Coastal Mysteries of \u201cRomer\u00eda\u201d and \u201cRose of Nevada\u201d - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=704\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Coastal Mysteries of \u201cRomer\u00eda\u201d and \u201cRose of Nevada\u201d - 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