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Sorry We Missed You POSTPONED CORONAVIRUS
12 May: 7:30 pm - 9:30 pm£4 – £6
2019 – Certificate 15
– Sorry We Missed You –
Ricky (Kris Hitchen) and his family have been fighting an uphill struggle against debt since the 2008 financial crash. An opportunity to wrestle back some independence appears with a shiny new van and the chance to run a franchise as a self employed delivery driver. It’s hard work, and his wife (Debbie Honeywood) Abbie’s job as a carer is no easier. The family unit is strong but when both are pulled in different directions everything comes to breaking point.
Running Time 101 mins
Ratings Info 5 Star Cert 15
Director(s) Ken Loach
Cast includes Kris Hitchen, Debbie Honeywood, Rhys Stone, Katie Proctor, Mark Birch, Ross Brewster
Nominations & Awards 4 wins from 10 nominations including BAFTA Film Award nomination
Ken Loach may have won the Palme D’Or in Cannes for both The Wind that Shakes the Barley(2006) and I, Daniel Blake (2016) but the 82-year-old director’s new feature is at least the equal of both of them.
Late in his career, Loach retains the ability to make heart-wrenching and very topical dramas that expose the grimmer aspects of contemporary British society. Scripted by his regular collaborator Paul Laverty, this is another of Loach’s films about decent people trying to do the best for themselves but being defeated by a system in which “everything is out of whack”.
As in the great Italian neorealist films, Loach makes the everyday problems of his characters seem the stuff of epic drama.
The subject matter may be grim but the storytelling is utterly absorbing.
Loach is sometimes accused of indulging in crude polemics but he is very delicate and insightful in the way he portrays family relationships. There are fleeting moments of humour and lyricism here. The British director cares deeply about his characters and makes the audience care too……………. he and Laverty pursue their story to its logical conclusion, ending the film in a way that is both ingenious and devastating.
The I, Daniel Blake director raises his game yet further with this gut-wrenching tale of a delivery worker driven to the brink
Director Ken Loach and screenwriter Paul Laverty have come storming back with another passionate bulletin from the heart of modern Britain, the land of zero-hours vassalage and service-economy serfdom ………. It’s fierce, open and angry, unironised and unadorned, about a vital contemporary issue whose implications you somehow don’t hear on the news.
As always with Loach and Laverty’s work, the devil is in the detail – those incidental elements that lend an unmistakable ring of truth to the wider drama, even as it moves inexorably towards melodrama
Like I, Daniel Blake, it is substantially researched through many off-the-record interviews, and rich in detail. But I think this film is better: it is more dramatically varied and digested, with more light and shade in its narrative progress and more for the cast to do collectively.
This brilliant film will focus minds.
No one speaks to the heart of the working world, and to every exploited category and class of humanity quite like Ken Loach, a British social realist whose passion for exposing injustices past and present has burned in films like his two Cannes Palme d’Or winners: I, Daniel Blake (2016) and The Wind That Shakes the Barley (2006).
Loach’s exposition methods are not subtle, and are seldom seamless, but he is a master at making them work with emotional impact.
Loach is a skilled storyteller who has a canny sense of how to bring an audience with his characters all the way. Sorry We Missed You is a timely contemporary tragedy, but it is also laced with humour, silly moments, and a very palpable sense of how real people live and feel. Anyone who has ever received an online order delivered by one of those white vans will never look at one the same way again.
Sorry We Missed You is an important and timely watch. As Loach’s Palme d’Or winner I, Daniel Blake bore down on the Department for Work and Pensions and a toxic culture that neglects the vulnerable, his new film arrives at a time when the gig economy is thriving without an end in sight, promising those in need choice and control when the reality is not just untrue, but life-threatening.
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