Rating: 3.5/5
The film is, in fact, two: Distant Voices and Still Lives. They were shot two years apart but with the same cast and crew.
Distant Voices Mother brings in the milk from outside. She calls for Eileen, Tony, and Maisie to come down. We watch the stairs, hear the footsteps, and hear the voices, but we do not see the children coming down. They take a photo together, dressed in black, coming home from her husband’s funeral. We experience their memories of their father and the violence he brought into each of their lives.
Still Lives Years later, the children we have met are now adults. Everyone has married, some have kids, and none are happy with the choices they’ve made in their life.
The film is about the lingering effects of domestic violence on those who survive it.
Terence Davies’ films have a curious feel that never feels unmotivated but isn’t always opaque. Some moments are poses for pictures, but the camera pulls in. In the background is a photo of Davies’ father.
The film’s performances have stage acting vibes — broad movement and no energy given to microexpressions. It was hard to get used to, but I eventually adapted.
There are so many singing moments—drunk, mourning, hiding, loving—there’s a song for every moment. Memories get attached to songs, and hearing them can take us back to that place—which is not always where we want to be.
Weirdly, this is a case similar to Drowning by Numbers, where the Britishness makes the film harder for me to connect to. I’m witnessing expert filmmaking but having difficulty getting into the emotional core.