For Terence Davies, his youth — his early years in Liverpool, his relationship with his mother, and his feelings about being gay in that working-class town — have always provided the raw material for his filmmaking. His celebrated “Terrence Davies Trilogy,” a collection of shorts, and later features like Distant Voices, Still Lives and The Long Day Closes summon up for the viewer an interior life with a rare combination of lyricism and heartache. These films cemented Davies’s international reputation, but after two more, non-autobiographical features (The House of Mirth and The Neon Bible), he became less active, a development […]