It is a world away from the working-class Liverpool of the director's own childhood in the late 1940s, so movingly depicted in his autobiographical Distant Voices, Still Lives (1988), and yet the two films sit together as companion pieces.
They are both deeply felt family dramas with the same mix of lyricism and extreme brutality.
The interior of the little farmhouse in which the family lives in Sunset Song isn't so different from that of the home depicted in Distant Voices.
At its best, the new film is the equal of its predecessor.
Chris is the "bonniest thing ever seen in Kinraddie" and Davies is determined to remind us of the fact.
The subject matter may appear dour but there are some magical shots of golden fields of crops.
The casting of the model-turned-actor Agyness Deyn, who gives a very fine performance as the main character Chris Guthrie, lends the film an unlikely glamour.
The first half in particular has extraordinary visual grace.
Davies, shooting in luxuriant colour on 65mm film, contrasts the beauty of the landscapes with the violence that the characters inflict on one another.
What is most surprising about Terence Davies' film adaptation of Lewis Grassic Gibbon's Sunset Song is how close the director seems to his material.
The novel, published in 1932, is the story of a sensitive young woman growing up in a rugged, rural community in the north-east of Scotland just before the First World War.