That makes two, then - with Berberian Sound Studio as the other. Not quite a movement, and one integer short of a trend according to the old journalistic rule. But significant.
The H-connection is clear because of Julian House's involvement in Berberian (doing the credit sequence to the film within the film, Il Vortice Equestre) and his making of an alternative trailer for A Field:
Riley points out where both Ben Wheatley's film and Julian's trailer overlap with a neo-psychedelic aesthetic but also how they differ and veer away into something darker and more unsettled:
"Here we have a similarly high contrast palette indicative of stereotypical psychedelic imagery. The trailer is shot through with the kind of mescalinized intensity described by Aldous Huxley in Heaven and Hell (1956). However, House adds a number of additional details. Unlike the smooth, HD black and white that embellishes the film, what’s emphasised in the trailer is the grain of decaying film-stock. House emphasises the degraded materiality of celluloid which seems to enhance the paranormality of the of the events in the filed as depicted in the film. The impression is created of spectral emanations momentarily captured on film with distorting results"
Haven't yet seen A Field In England, really keen to. Recently, finally watched Berberian, having had the DVD sit around for ages, and thought it brilliant.