Sorry We Missed You
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Sorry We Missed You

Sorry We Missed You On June 17, Ken Loach will turn 83 years old. His opera prima, Kes, is from 1969, so he entered the sixth decade of work. The British filmmaker The Favourite is not too valued by the more radical cinephilia, which tends to minimize and in many cases disregard his social outlook, which he considers antiquated, obvious and Manichean. In my case, beyond that his filmography suffers from certain common places and some tendency to underline, I admire him for the dignity and forcefulness with which he has described for so many years the hardships of the working class, the abuses of power, the absurd ways of bureaucracy and constant dehumanization that leads to the loss of essential values. I may like a film more and less, but I always rescue the consequence of his work, the nobility of his characters, the narrative office, his ability to direct actors and be attentive (with the contribution of his usual screenwriter Paul Laverty , of course) to the new phenomena.

In this sense, Sorry We Missed You describes (from a delivery system at home in a van that the driver must provide and maintain in addition a rigid and demanding schedule that does not admit the slightest delay) this time of “überización”. The company gets the customers, brings the application and internal organization. The rest is completely outsourced. Hell Is Where The Home Is A trend that in Argentina can be seen, for example, in the rise of Orders Ya, Rappi or Glovo.

The protagonists of the film are the members of a pauperizada middle class family: the Turners. The mother, Abbie (Debbie Honeywood), who takes care of the elderly at home (read cooking, cleaning, changing diapers), must sell the car so that the father, Ricky (Kris Hitchen), can buy the van necessary to enter that company of private mail delivery. The Autopsy of Jane Doe There is the rebellious teenage son (Rhys Stone), who is much more interested in street graffiti than attending school, and the youngest (Katie Proctor), 11, who absorbs the increasingly rarefied climate and suffers. The dynamics of that lovable human group is described with humor, sympathy and charm, while Ricky’s daily misadventures expose the helplessness, pressures and dangers that a freelance without contract or coverage suffers.

Until the last half hour we are, then, before an intelligent and sharp film. Regrettably, Spider-Man Far from Home the outcome falls, once again, in certain excesses of cruelty and in a didacticism that was not necessary and that ends up diminishing in part the remarkable values ​​of a history that tunes in as little as these times in which precarious work makes the worker has all the obligations, runs all the risks and does not enjoy almost any of the rights and benefits that he once had.

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Sorry We Missed You