Committed filmmaker, Ken Loach continues to observe and denounce the evolution and damage of the capitalist system and liberal policies. With Sorry, we miss him, he addresses the uberization of the world of work and signs a new social drama that is not insensitive.
with Sorry, we missed you (synonym for "transit advice") Ken Loach continues his column about the working class (or working class) of "modern times." She is British, but her situation can be transposed in many parts of the world. Always fighting against social injustices, the filmmaker (83 years old), observes and denounces again the evolution and excesses of the capitalist system and liberal policies, as he has done, among others, with Navigators (2001), in the privatization of the English railways, It is a free world (2007), exploitation of immigrant workers, or Me, Daniel Blake, in the stigmatization of welfare beneficiaries. There is also a link, as an extension, between Palme d'Or 2016 (and Caesar Best Foreign Film 2017) and this "last", both set in Newcastle upon Tyne, in the North / East of England. In choosing the city, Ken Loach stated at the time of Daniel Blake : " Newcastle is of great cultural richness. Like Liverpool, Glasgow and other major coastal cities, they are beautifully illustrated, the cultural heritage is very rich and the linguistic particularities are very striking. It is a region that affirms its difference: generations of men and women fought and developed a very solid political conscience. "
For its part, about Sorry, we missed youProducer Rebecca O'Brien says, " Newcastle is a compact city and it's relatively easy to get there. to move. It makes a difference: when in some cities it takes you an hour to get from one place to another in Newcastle, the same trip can take anywhere from fifteen to twenty minutes. Moreover, it has a strong cultural identity, while representing all of Britain in a microcosm: it is a city with ups and downs, good and bad things that any British city could have. As we found out in Me, Daniel BlakeIt was much easier to come back here. We know the infrastructure and the interlocutors to work with (…). And then Daniel Blake and Ricky Turner, the two main protagonists of both films, are close. The first is a carpenter and has never used welfare, while the second has done all the work in the building and has never registered for unemployment. He has his pride, as he tells Foreman Maloney, who welcomes him. Ricky is a hard worker, with his wife Abby, help at home, they dreamed of becoming owners, but the financial and economic crisis of 2008 was in the air. More opportunities to lend. In addition, he plans to become a delivery driver on his own. Being independent, having no boss on your back … The dream! With what he earns, he intends to get a loan to finally buy a home. But as (subtly) perceives the head of the distribution platform: " You do not work for us, but with us. ". Ricky will quickly discover the other side. To buy the van, you must sell Abby's car, which will lose" customers. " overtime, every seven days, unforeseen expenses (theft, breaking, accident), fines and threats of punishment. He has no rights or protections. It must remain completely available to the customer. A GPS is there to dictate your routes and … beep if it exceeds the break time! Technological evolution in the service of profit and not of welfare. A situation that has serious consequences, not only for Ricky (physical and nervous fatigue, angry temper), but also in family life.
True to his theme, Ken Loach denounces this time the "uberization" of the world of work and, more precisely, the perverse side of the self-entrepreneurship through which the worker exploits himself. Ricky tries, as does his wife, already subject to the "zero-hour contract." It pays for the visit, which extends between … 7:30 and 21h! Other topics discussed, frequent in Loach, those of youth, already present in films such as Kess (1969) Black jack (1979) or Sweet sixteen (2002), and his interest in football, which brings here a brief humor note and which refers to Looking for Eric (2009). True to his habit, for the sake of authenticity, the director seems to have filmed a documentary. Upstream, he and his usual screenwriter, Paul Laverty, conducted research and met (despite the difficulties of fear of losing their job) drivers to talk about their work. " Listening to others is essential to making movies … What politics should be Ken Loach observed in Cannes. Filming was done in chronological order and the actors did not know the end of the story. Once again, the filmmaker resorted to non-professionals. While some delivery men play their own role, Kris Hitchen (Ricky) is a plumber, although The browsers, some short films and TV movies, the amazing Debbie Honeywood (Abby) appeared in the series Vera's Investigations, but she's a school life assistant, Rhys Stone (Seb), son, and Katie Proctor (Liza Jane), daughter, are high school students. As for Ross Brewster (Maloney), he's a cop! The viewer can only empathize with this family that is sinking before their eyes. Difficult not to be moved (shaken, upset) by the tragedy that lives.
"Classic", "already seen" will say Ken Loach's detractors. Maybe … but your new accusation of a system that has nothing to do with the human dimension seems correct. And so, "sorry," political filmmakers (and who stay that way throughout their careers) are not a legion. One more reason to go see Sorry, we missed you in a movie theater.
Sorry, we missed you by Ken Loach (Drama – United Kingdom / France -2019 – 1:40) With Kris Hitchen, Debbie Honeywood, Rhys Stone, Katie Proctor and Ross Brewster.
Watch the movie trailer (The alliance – Vostf – 1 min46)
Listen to Ken Loach's interview (Fabienne Sintes – A day in the world / France Inter – From 1:10 am to 5:40 pm – October 22, 2019)