• Davies’s alter ego Robert Tucker kneels in prayer and in guilt.

Among the many reasons to see Terence Davies’s The Deep Blue Sea (the subject of this week’s long review by J.R. Jones) is that it marks the first feature in which Davies confronts sexual desire directly. The subject runs through all of the great director’s work, though Davies tends to sublimate it into his depictions of moviegoing, family ties, or social convention—and then there’s the high sensuality of his directorial style, which makes a case for cinema being more pleasurable than sex. Davies’s remarkable early short Madonna and Child (1980) helps to explain this facet of his work; you can find it on DVD as part of the Terence Davies Trilogy.