1945 — 2023
he camera lingers on the empty staircase of a two-up, two-down Liverpool terrace. The distressed wallpaper is peeled back at its fringes, and the maroon paint of the skirting board is chipped from the constant patter of feet. A mother calls up to her dozing children to come down for breakfast. They respond, and we hear but don’t see their descent into the parlour. These ghostly apparitions are faded memories, and exemplify the idea that personal cinema
