as the films of Davies illustrate so convincingly, ultimately it is the inner space of the individual imagination that matters most.
Wendy Everett: The Eye of the Inner Ear: Terence Davies and the Space/Time Dimension, p.308. Essay published in: Wendy Everett & Axel Goodbody (Eds), Revisiting Space: Space and Place in European Cinema (Oxford, Peter Lang, 2005)
By positioning the spectator as co-author, Davies’s resistance to mainstream cinema’s demands for pace, linearity, and closure should thus be recognised as an act of creative empowerment. For above all his films are about film; whatever they tell us about ourselves, about Davies, about time, space, music, image, they are also telling us about the glorious, terrible, and powerful nature of cinema and its role in structuring our identity and that of the world we live in.