William McGregor on the ‘slow burn, anti-capitalist folk horror’ of ‘Gwen’

No one’s having an especially good time in Gwen, a gothic tale with a rural focus where the most tender moment involves someone applying blood to their cheeks as blusher.

In mid-19th century Snowdonia, north Wales, a young girl, Gwen (Eleanor Worthington-Cox), tries to hold her home together. Her father’s failure to return from war has her and her little sister, Mari (Jodie Innes), concerned. Her stern mother (Maxine Peake) has developed a strange illness, the farm’s crops are rotting, their closest neighbours have mysteriously died, and a ruthless mining company is looking to seize their land.

Gwen is the debut feature of William McGregor, a writer-director with various prize-winning shorts and acclaimed TV runs to his name, including Poldark (2015-). His breakthrough effort, co-financed by the BFI, is a tricky film to define, but he has a very specific way of describing it for prospective viewers. “A slow burn, anti-capitalist folk horror would be the best description,” he says. “You have to add that caveat because if you tell people it’s only folk horror, they might go in with slightly different expectations”…

Full interview for the BFI

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