#debbie honeywood

[addictivecontradiction]

Sorry we missed you, 2019

[milliondollarbaby87]

The Old Oak (2023) Review

The Old Oak is the last pub standing and one of the only remaining public spaces that people can meet, a once thriving mining community has fallen on very hard times after 30 years of a decline. The arrival of Syrian refugees placed within the village create a fight for territory with some of the locals. ⭐️⭐️⭐️⭐️ Continue reading The Old Oak (2023) Review

[movienized-com]

The Old Oak

The Old Oak (2023) #KenLoach #DebbieHoneywood #TrevorFox #LorenzoMcGovernZaini #NeilLeiper #DaveTurner Mehr auf:

Jahr: 2023 (September) Genre: Drama Regie: Ken Loach Hauptrollen: Debbie Honeywood, Trevor Fox, Lorenzo McGovern Zaini, Neil Leiper, Dave Turner, Ebla Mari, Jordan Louis, Laura Lee Daly, Rob Kirtley, Alex White, Andy Dawson, Chris McGlade, Reuben Bainbridge … Filmbeschreibung: Die glorreichen Zeiten liegen längst hinter dem alten Grubendorf im Nordosten Englands. Im The Old Oak genannten Pub…

[thepeoplesmovies]

Ken Loach's The Old Oak Set For December Home Release

That special place will be coming to your small screens next month when Studiocanal release Ken Loach‘s heart-breaking drama The Old Oak. Releasing in time for Christmas on Blu-ray, DVD and Digital Download.. The film stars Dave Turner, Ebla Mari, Trevor Fox, Debbie Honeywood, Laura Lee Daly, and Jordan Louis. The film is set to be the veteran filmmaker’s final creation with his regular writer…

[lemagcinema]

Le vieux chêne

Un film de Ken Loach Avec: Dave Turner, Ebla Mari, Debbie Honeywood, Andy Dawson, Chris Gotts, Rob Kirtley, Chris Braxton, Lloyd Mullings, Reuben Bainbridge, Joe ArmstrongLe Old Oak est un endroit spécial. C’est non seulement le dernier pub encore debout, mais aussi le seul espace public où les gens peuvent se rencontrer dans une communauté minière autrefois florissante, mais qui a connu trente années de déclin. TJ Ballantyne, le propriétaire, s’accroche au Old Oak du bout des doigts, et sa situation est encore plus menacée lorsque le pub devient un territoire contesté après l’arrivée de réfugiés syriens qui ont été placés dans le village sans aucun préavis. Dans le cadre d’une amitié improbable, TJ rencontre une jeune Syrienne curieuse, Yara, qui possède un appareil photo. Pourront-ils trouver un moyen pour que les deux communautés se comprennent ? C’est ainsi que se déroule un drame profondément émouvant sur leurs fragilités et leurs espoirs..

Retrouvez l'article complet ici https://is.gd/jtlGmN

[gael-garcia]

Self-employed? How's he self-employed? He's worked 14 hours a day, six days a week for youse. He works for you. How's that self-employed?!

Sorry We Missed You (2019), dir. Ken Loach

[ourbalancedlife]

[gregor-samsung]

Sorry We Missed You (Ken Loach - 2019)

[filmbook21]

[letterboxd-loggd]

Sorry We Missed You (2019) Ken Loach

March 17th 2020

[addictivecontradiction]

Sorry we missed you, 2019

[porquevi]

"Você não estava aqui" (sorry we missed you) - cinema.

Filme dirigido por Ken Loach, diretor que retrada muito bem a classe trabalhadora e seus problemas, sempre com foco nas pessoas e não no discurso. Seus personagens parecem reais e isso dá uma força enorme no trabalho do diretor. Loach já tem 83 anos, vale a pena ver seus filmes, não sabemos quando será o último.

depois de ver: ótimo filme! novamente uma boa história. Loach parece perder a esperança no futuro da humanidade. qual saída nós temos? 

[cadwalladery]

Films seen in 2019

# 226 - Sorry We Missed You (Ken Loach, 2019)

[film-punk]

Films watched in 2019 #98 - Sorry We Missed You (Dir. Ken Loach, UK/France/Belgium, 2019)

[pigballoon]

Sorry We Missed You

(Ken Loach, 2019)

Continuing his half a century long fight on behalf of the voiceless majority, Ken Loach follows up his Cannes Film Festival winning I, Daniel Blake, with a movie that crosses that films stark portrait of the realities of the everyday with more of the domestic strife that has defined so much of his best work (Raining Stones came immediately to mind). For me the fact that is balances the scales out more than Daniel Blake did makes it a much more successful movie overall, the succession of truths about society that the movie hammers you with throughout its second half is lent so much further weight by seeing the home environment, the reason for doing and putting up with what you do, and the impact that is revisited upon said domestic environs with each passing day.

Proceedings are amplified still further on account of the fact that Loach has assembled an incredible quartet of actors who together form this perfect familial unit so well rounded out, and so true to life, and free of movie phoniness that it’s hard not to get sucked into their struggle and caught up in all they go through, and feel for them in spite of their flaws. In the central role Kris Hitchen is the perfect Loach leading man, the northern charm blended with the frailty of the downtrodden, he’s an immensely winning presence, as his wife, the even less experienced on screen performer Debbie Honeywood is perhaps less consistent, but when she’s good she’s fantastic. Her physicality is the real winner, the way in certain scenes you watch her fight to keep control of herself, to keep things bottled up, her ability to communicate that fight verbally is top notch too, and she nails the moments when she can no longer keep the lid on as well, dramatically, heartbreakingly, and with a touch of the comedic too. Rhys Stone in his big screen debut might be the most interesting of the bunch, his strange way of moving, and speaking, so lived in, so down to earth. Of all the cast he’s the one who has the toughest job of keeping you on side, but a couple of well placed scenes really round the character out wonderfully, and Stone’s ability to blend the tenderness, and thoughtfulness in with the sort of brash bravado seamlessly is to his credit. As the youngest member of the quartet Katie Proctor, also in her big screen debut, has less to do, but still proves such a natural, and such an angel on screen, and also never betrays of lick of phoniness in anything she does. Her scenes where she goes to work with her dad prove some of the movies highlights. In addition to the quartet, and maybe stealing the whole show is Ross Brewster, also with no screen acting credits to his name. Anyone who’s worked a day in their life will know the uncomfortable to watch truth of every moment he spends on screen. He’s a tremendous dark (but natural dark, magic hour dark, no filters required) cloud hanging over the movie, steals every scene that he has, and leaves a massive boot print right in the middle of the whole thing. He’s essential to the workings of the movie.

All in all this is as strong a movie as the prolific Loach has produced in a good long while, on account of the fact that as already touched on it’s not just about, not entirely focused on, and revolving around the ills of modern society. It ties all of that documenting together with a familial drama, and the two sides of the coin massively aid and elevate one another, the one makes the other palatable, grounds it in everyday reality, and in turn the other lends the one weight, makes it matter more, and bound together they produce full on, of the moment, 21st century human tragedy.