🎥: All 4
Another off the Loach-Laverty production line: fiercely forgiving of their protagonists' faults; and putting into sharp focus the circumscriptive psychological and financial effects of poverty
It’s also telling that Loach’s stylistic and narrative sombreness was as salient in 2002 - the apogee of New Labour and its false promise of social mobility - as it is in Tory Britain. This, I, DANIEL BLAKE, and SORRY WE MISSED YOU speak to - or rather, rage against - decades-long abdication…
🎥: Amazon Prime
a 45-minute thrill ride: adrenaline-pumping and packed with laughs.
on a cerebral level, it’s also a witty reflection on our relationship with the cinema. shadows, a recurrent motif, suggest how films project distorted, aggrandised images of ourselves. these images don’t just mimic life; they constitute alter, inflated egos — the Projectionist/ detective, the love rival/ Villain, the Butler/ the sidekick. film thus becomes a medium for illustrating fantasy — we see, what we want to be.
or so it…