Beautiful symmetric frames and cinematic work but I'm not so much into musicals, which plays an integral role in weaving the plot here. I felt sorta detached. There's this specific scene when daylight dances on a carpet while a rhapsody plays in the background of this eventless film.
It's difficult to admit not enjoying a film so fantastically crafted and in love with cinema as Davies' film is. Although it's as gorgeous and intense as a nostalgia can be, it might just be how personal and specific these memories are that prevented me from connecting with any of it.
Like a memory so delicate if you blow it away the whole film-spell would disappear on the wind. Memory, for Davies (as well as for Resnais), isn't so much a hazy mental state as a true physical space, a room you can inhabit and walk around in, with a particular density to the air, a particular echo of sound and an inescapably timelessness.
Davies es tal vez el mejor director británico de la historia del cine. A pesar que este filme sigue siendo formal y estéticamente símiles a sus anteriores, su esencia está renovada y parece inagotable. El tiempo aquí es confuso ¿remembranza o presente? Es también onírico. Davies promueve una obra coral a la memoria y al cine (que también es memoria). Es un maestro de la luz, conservador y vanguardista. Fascinante.
The tone of this film reminded me a lot of my own childhood moods. I think that for me only Victor Erice's "El espiritu de la colmena" and "El sur" would be comparable in that aspect. I just discovered a few days ago how great Terence Davies' films are, and since then I can't believe I haven't got to see them earlier. Anyway, they gave me shivers of pleasure in the past hours.