Davies discusses the autobiographical elements of Benediction, and Lowden his charge to feel every moment rather than act it.
Terence Davies’s film is a rhapsodic portrayal of a milieu in which words are wielded like weapons by people who might otherwise be pariahs.
Davies’s harrowing, beautiful diptych of childhood under and in the wake of tyrannical patriarchy receives a definitive release from Arrow.
Davies’s witty, formally audacious biopic is the latest showcase for his uniquely impressionistic cinematic style.
A Quiet Passion’s accomplishment is in fleshing out the stark context behind Emily Dickinson’s ethereal words.
A Quiet Passion, like all of Terence Davies’s films, doesn’t lack for density of theme, allusion, and effect.
The filmmaker discusses his love of Lewis Grassic Gibbon’s novel, the continued relevance of melodrama, and more.
Terence Davies’s talent for creating sensuous images conveniently masks how little of this feeling actually emerges from the plot these images illustrate.
Sunset Song is conventionally A-to-B, though it’s a strangely freeing framework within which Terence Davies achieves some gorgeously subtle effects.
Criterion makes up for the stateside unavailability of Terence Davies’s greatest work with a disc that sets the bar for their 2014 releases.
Essential viewing, if not only for its edutainment factor, but for the dynamism and felt resonance of its maker’s bounding enthusiasms.
The stage bred many of 2012’s finest film adaptations.
A tale of two Terences, The Deep Blue Sea gets the deluxe Blu-ray treatment from Music Box Films
Understanding Screenwriting #93: The Deep Blue Sea, A Separation, Pauline Kael, & More
Terence, meet Terence.
The Long Day Closes is both less dark and more radical than Terence Davies’s prior Distant Voices, Still Lives.
Terence Davies’s films often run on multiple kinds of consciousness.
Terence Davies may surprise skeptics who’d see this material as a confirmation of his fustiness.
Is it just us or can the Academy’s infatuation with The Artist be felt even in categories where the film isn’t nominated?
I can think of worse tasks than judging films in the elegant Basque city of San Sebastián, known as Donostia to the locals.
A Golden Novak Djokavic, in recognition of otherworldly improvement in 2011, goes to Yorgos Lanthimos for Alps.