They have been edited together for this release – you can tell the joins from changes in ambience – and play as an optional audio track on the main feature.

Tarah Judah is up next, with “A Blueprint for Survival”, which is also the title of the (genuine) book that the Volunteer is reading, and in part, she suggests, a blueprint for the protagonist’s situation. No doubt this served as an advertisement for tourism to the far South-West, whether actual for those near enough or well-off enough to go there (some of whom we see sunning themselves on the beach), or vicarious for those who were not.The woman looks into a bedroom and is unsurprised to see a dark-haired girl (played by Flo Crowe) sleeping there. It begins with Mark Jenkin’s director’s statement, revealing that his starting point was a memory of visiting the Merry Maidens, a stone circle near where his grandmother lived in West Penwith. As that subtitle indicates, this is in eleven subsections and Fowler tackles the films use of folk-horror elements but also its subversion of our expectations and its breakdown of a conventional narrative. Jenkin recorded these while he was making Enys Men, and they were broadcast in short instalments on BBC Radio 4’s now-defunct The Film Programme.

However, Wood suggests, the success of Jenkin’s films may be because they are of their time and not ahead of it, as Roeg frequently was, his films moving from initial incomprehension for the most part and rising in stature over the years. Both, though, were filmed silently on a vintage 16mm Bolex clockwork camera with sound added afterwards during the editing process.He has also directed radio plays, including an adaptation of Nigel Kneale’s TV play The Stone Tape, and he talks about this. Extras on this BFI dual-format release include a Children’s Film Foundation film, Haunters of the Deep (1984), sharing West Cornwall locations and a haunted tin mine with Enys Men, and The Duchy of Cornwall (1938), a travel short evoking the county’s Mediterranean forebears, storm-lashed iron coast, wrestling rituals, tin mines and tourists. Fowler pays attention to the film’s editing and its effects on its use of time and place, and its use of a female protagonist “[watching] herself being looked at” and “[looking] at herself being watched”.