Sorry We Missed You
Sorry We Missed You
Sorry We Missed You
Reżyseria:
Ken LoachScenariusz:
Paul LavertyZdjęcia:
Robbie RyanMuzyka:
George FentonObsada:
Kris Hitchen, Debbie Honeywood, Rhys Stone, Katie Proctor, Harriet Ghost, Ross Brewster, Nikki Marshall, Stephen Clegg, Alfie Dobson, Micky McGregor (więcej)VOD (1)
Opisy(1)
Ricky i Abbie chcą dla siebie i swoich dzieci czegoś więcej. On jest w stanie poświęcić wszystko, żeby ich marzenie o własnym domu wreszcie się spełniło. Ma dosyć czekania, aż sprawy przyjmą lepszy obrót – stawia wszystko na jedną kartę i zaczyna pracę na własną rękę. Rzuca się w wir obowiązków, chcąc jak najszybciej osiągnąć swój cel. Ona, myśląc o przyszłości, nie chce stracić z oczu tego, co już mają: kochającej się rodziny i wzajemnego wsparcia. Wierzy, że goniąc za szczęściem, trzeba wiedzieć, kiedy się zatrzymać. (M2 Films)
(więcej)Recenzje (4)
Is this how authentically and with so much sincerity Ken Loach can tell stories of “ordinary people” and their problems? And how wonderfully he can work with actors? Sorry We Missed You is a beautiful, sober drama in which people really care about each other, even though they are going through perhaps their biggest family crisis. Actually, I don’t know when I last saw such tangible understanding and support between two people in a movie as I did here between Hitchen and the novice actress Honeywood. It’s all about communication and dialogue. [Cannes]
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Another of Ken Loach’s angry social dramas, Sorry We Missed You reveals level by level why precarity of work is one of the worst symptoms of the current economic model. The uncompromising and deliberately frustrating conclusion evokes compassion and anger, the combination of which both arouses interest in those who are paying the highest price for maintaining neoliberalism and provokes action. Therefore, this is an important film and, together with the Irish drama Rosie, one of the best films that have been made on the topic of workers’ lives in recent years. 80%
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Paradoxically, Loach’s perfectly escalating, realistic drama of a disintegrating family may come across as the director’s indictment of a billing system that, in a buck-passing manner, denies responsibility for employees and, at the same time, pushes them to work overtime, be available at all times and subject themselves to stress. But it can also serve as a powerful contraceptive showing, as a fundamental obstacle to the happiness of two adults,that they have kids for whom they sacrifice everything and who in turn grow up to be egocentric brats.
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The ordeal of an aspiring courier, where the plot is driven by thugs, a cat o’ nine tails, and threats just to get to that yearned-for social thesis, whereas we know from Czech experience how easy it is to pull all those pesky problems into one when the courier is happily delivering parcels on the speed.
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