Ricky 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'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.
Kris Hitchen Debbie Honeywood Rhys Stone Katie Proctor Ross Brewster Charlie Richmond Julian Ions Sheila Dunkerley Maxie Peters Christopher-John Slater Heather Wood Alberto Dumba Natalia Stonebanks Jordan Collard Dave Turner Stephen Clegg Nikki Marshall Darren Jones Linda E. Greenwood Mark Birch Mark Burns Vicky Hall Harriet Ghost
Sixteen Films Les Films du Fleuve Wild Bunch BBC Films BeTV BFI Film Fund Canal+ Casa Kafka Pictures Ciné+ Cinéart France 2 Cinéma France Télévisions Le Pacte VOO Why Not Productions Tax Shelter du Gouvernement Fédéral Belge
미안해요, 리키, 쏘리 위 미스드 유, 抱歉我们错过你了, 对不起，错过你
I’m definitely checking out everything Ken Loach has done, starting with Kes. This was tragic and the saddest part is how real it is. The way it covers the fear and depressing aspects of literally normal people is...so smart, I am not doing it justice. Too many thoughts!
Cannes 2019
Film #9
“Who cares.” - Seb’s notebook
Sorry We Missed You is a punch to the emotional gut. It follows a family in a tight economic situation that becomes more and more dire. The father works for an Amazon-type of company that considers him self-employed; he has no benefits, but carries all of the risks. The mother is an underpaid caretaker and is a true softie. The teenage son gets into trouble with his parents gone and the adolescent daughter takes selfies with her cereal.
Ken Loach’s film doesn’t have stars or a big budget. It only has an immense heart. And that goes a long, long, long, long way. It’s hands down the best film of the festival so far and it will be hard for anything else to top it.
Rating: 9/10
Will never miss a Ken Loach.
Shot by Robbie Ryan on 16mm.
Arriflex 416, Zeiss Master Prime and Ultra Prime Lenses
Kodak Vision3 250D 7207, Vision3 200T 7213, Vision3 500T 7219
Watched Kino Lorber Blu-ray
you know it’s a heavy one when you and the fam sit through the whole credits not speaking to each other...... so real and honest, this one hits hard 😔
Hoop-tober (hopefully), #13:
Ken & Robbie may be one of the finest cinematographic/directorial duos working today. Incessantly and intensely brutal in its realism, and all the more frighteningly mirrorical due to the nature of its “awful” authenticity. This is what our industrial complex of a civilization has become and, as John Darnielle might say, we’re all, unfortunately, cows... just making the best out of the worst, for as long as we possibly can. I never thought, as a child, that life would merely become an endless series of 12+ hour workdays, but alas. If we want to pay our bills, and our rent, we have no choice. This isn’t how it should be, but it is; capitalism is wonderful, isn’t it?…
“maybe your best isn’t good enough, is it?”
absolutely crushing and achingly real. there are moments of true tenderness here surrounded by a lot of daily sorrow, but the balance is still just right. i would definitely call this a must see of the year, but have a box of tissues on hand just in case
capitalism exhausts us and pushes us to the edge. the whole time i worried that someone was going to be pushed so hard that they fell off, in one way or another. but maybe the real misery is in how we fight to hold on to what we have left.
"Let’s get the cardboard off the concrete!"
Ken Loach's follow up to I, Daniel Blake is initially something of a slow burn affair as we are introduced to the family unit at the film's heart and the alarming practices and pitfalls of freelance, zero-hour contracted 'service economy' of in-home carers and parcel delivery drivers. But when the storyline comes together and this family reach breaking point, Loach delivers a veritable gut punch to audiences, the ramifications of which will bruise the mind for some time to come.
Ricky (Kris Hitchen) and Abbie (Debbie Honeywood) are a loving couple with two children Seb (Rhys Stone) and Liza Jane (Katie Procter). Thanks to the global economic crash in 2008 (y'know, the one…
This Ken Loach drama, which observes a married couple attempting to fulfil the unreasonable pressures of their zero hour contract employment, is marvellously executed and depressing in its demeaning precision. Written by longtime collaborator Paul Laverty and starring Kris Hitchen and Debbie Honeywood (as Ricky and Abby Turner) it’s a movie which is full of beautifully understated performances.
The narrative feels truthful in its demonstration of the shattering impact that the brutal economy has on honest people, and the mountain tensions are developed in minor but burdensome increments and skillfully weaved within the textured realism. The strength of Loach’s vision is always evident, and this is another movie giving a solid demonstration of his social and political sense of right and wrong.
✅80%
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2020 list - Click HERE
The Director of I, Daniel Blake brings us another in-depth look into what seems to be an “average situation.” Sorry We Missed You is as real as it gets; as we take a peek into the life of a family who is struggling from top to bottom. Hoping that self-employment through gig economy can solve their financial woes, a hard-up UK delivery driver and his wife end up trapped in the vicious circle of this modern-day form of labour exploitation. It’s a cast of (basically) unknowns, but the key is Ken Loach, who brings this sense of realism that not every Director can achieve. Everyone is excellent, the filmmaking is…
ENCOURAGED BY Ciddalio
Ken Loach is a director for the people. His vision of the world, mostly tight to his own political views, are always welcoming and make for what could easily be considered a British take on neorrealism. Sometimes this take works, sometimes it doesn't. In the case of his latest film it has many of the great elements that made me love I, Daniel Blake, but it misses the oomf that draw me into that movie. The big scene in here falls flat in compare to the wall scene in Blake. I guess it doesn't help I am in the midst of some home remodelling and things are slowing down because the constructing folks are giving us a…
This was pure and simple and understated but ultimately so so hopelessly sad. Really great raw emotion and a style that compliments it so well. I was expecting it to be really bleak and depressing but it actually had so much heart and warmth to it. This is the first Ken Loach I've watched, really need to watch more now.
The “little black box” monologue by the dickhead boss was a masterpiece moment
Aspekt więzi rodzinnych pokazany jest w poruszający sposób. Świtanie dobrana obsada. Temat korpo wyzysku prosto i łopatologicznie. A może tak trzeba?
The fact that 50 Years after Kes.......Ken Loach is still creating such absorbing family dramas that hit so close to home, is nothing short of astonishing.
Capitalism...destroyer of families/lives.
Very good no nonsense family drama with a clear message on its mind.
The second the dad got his new job I had anxiety for the entire picture. One of those things that if you know, you know.
The teenage son was a bit much at times.
But everything else is so well pitched.
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Pessimistic worldviews. For when you want to wallow in despair.
It doesn't matter if we all die.
Suggestions welcome.
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