Called the most important British filmmaker of his generation, Terence Davies made his reputation with modern classics like Distant Voices, Still Lives [1988] and The Long Day Closes [1992], personal works exploring his fractured childhood in Liverpool. His idiosyncratic and unorthodox narrative films defy easy categorization, as their seeming existence within realism and personal memory cinema is undermined by an abstractness that makes the way he lays bare personal pain come across as distant, even alien.Film critic Michael Koresky explores the unique emotional tenor of Davies's work by fo
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