Rose of Nevada

In a forgotten fishing village, a boat mysteriously appears in the old harbour. The Rose of Nevada, lost at sea with all hands 30 years ago, has returned. For the few who remember, it’s a sign: The Rose of Nevada must go out to sea again — maybe then the luck of the devastated village will turn. Nick takes a job aboard the boat in an attempt to provide for his young family. Alongside him, newly arrived Liam joins the crew, desperate to escape his past. They head to sea and, after a successful trip, return to harbour. But something is amiss. They’ve slipped back in time, and the villagers greet them as if they are the original crew.

Every film should, in some way, reflect and clarify the complexities of contemporary life. This one explores personal sacrifice, the power of community, and what it means to belong in today’s society.
The idea took root during the pandemic, when I saw the quiet strength of our small community. People came together selflessly to protect the vulnerable — while those in charge proved divided, self-interested, and ineffective.
For years, I’d imagined an opening scene: a boat lost at sea decades earlier suddenly reappears. One night, I described it to my partner Mary. We began tossing around ideas. As I fell asleep, I wondered — could this be the start of a story about sacrifice and solidarity? The next morning, a driver refused to yield, forcing others to reverse. That image stuck with me. I thought about the story again. I think about it every day.
Nick Dyer, our protagonist, doesn’t. He drifts through a grim present, unable to fix a leaking roof, convinced that’s just how things are — and always were. But it wasn’t always like this. There was a time when things worked, when problems could be fixed.
Transported into the past, Nick sees what came before — and is given the chance to stop the bleak future from ever happening. The price is high: he cannot return. But the choice he faces is not a simple one. He must either embrace a new reality of shared purpose or turn inward for good. To belong — or to disappear.

PRODUCTION:
Bosena - Denzil Monk
Office No. 4 Trereife Park Offices
TR20 8TB Trereife, Penzance. Kerno, United Kingdom
Tel: +44 7886 723 896
E-mail: denzil@bosena.co.uk
Web: https://www.bosena.co.uk/
Social Media: https://www.instagram.com/BosenaFylm - Instagram

OTHER PRODUCTIONS:
Ama Ampadu – BFI;
Farhana Bhula, Ollie Madden, Ben Coren - Film4;
Phil Hunt, Compton Ross - Head Gear Film;
Johnny Fewings - Johnny Fewings Media Consultancy;
Ben Bond – Bosena;
Kingsley Marshall, Neil Fox - Sound Image Cinema Lab Falmouth University

WORLD SALES:
Protagonist Pictures - Mounia Wissinger
Gilmoora House, 57-61 Mortimer Stre
W1W 8HS London, United Kingdom
E-mail: info@protagonistpictures.com
Web: https://protagonistpictures.com/
Social Media: https://www.instagram.com/protagonistpictures/ - Instagram

PRESS OFFICE:
Emma McCorkell – TeamPR
Tel: +‪44 7947 299950‬‬‬‬‬‬‬‬
‬ E-mail: ron@teampr.co.uk