Bait review – This visually divergent seaside drama has potential to become a cult classic.

In a year dominated by big budget blockbusters, Disney re-makes and superhero hits – Bait becomes an irregularity. Filmed on a 1970’s wind-up Bolex and on 16mm film, writer/director Mark Jenkin has produced an otherworldly visual that combines classic technique with modern themes.

Stubborn fisherman, Martin (Edward Rowe), is left reeling when his brother, Steven (Giles King), transforms their fathers’ boat into a party cruiser for tourists. Adding to Martin’s unease, his childhood cottage is now resided by London couple Sandra and Tim (Mary Woodvine and Simon Shepherd), whose relationship with Martin quickly turns volatile. Parking spaces and Lobsters fuel the fire for confrontation, but it is the connections between the younger members of the community that lead to tragedy.

Jenkin creates an almost constant state of disorientation with the overdubbed dialogue and sound effects added in post. At times disconcerting but ultimately dreamlike the audio accompanied by the home developed celluloid resemble that of David Lynch’s work on Twin Peaks the Return.

With extreme close-ups and sequences that linger a little too long – you will learn how to fix a lobster pot – Jenkin has managed to manifest his angst through painstaking cinema. Supplemented by an eerie melodramatic score – also by Jenkin – the end-product is haunting and unnerving – which makes the comedic beats even more impressive.

Jenkin is credited as director, writer, composer, cinematographer and editor – his fingerprints are literally all over it. Bait has all the elements to launch a new wave of British cinema…if enough people see it.

Popcorns – 85

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A special thanks to Lucy and all the guys at Picturehouse at FACT, who were kind enough to reserve a ticket for me on the day of its Liverpool release on Friday. Picturehouse at FACT is the only place in Merseyside you can catch this Cornish delight.