This article was produced as part of the Locarno Critics Academy, a workshop for aspiring journalists at the Locarno Film Festival, a collaboration between the Locarno Film Festival, IndieWire and the Film Society of Lincoln Center with the support of Film Comment and the Swiss Alliance of Film Journalists.
While Ken Loach’s “I, Daniel Blake” was surprisingly awarded the Palme d’Or this May, many critics slammed the film (and Cannes judges) for its blunt portrayal of the disenfranchised worker. Few audiences dig being preached at, and Loach’s politics were seen to trump its storytelling. Regardless of how mawkish one may find Loach’s alleged swan song, his concern for a 59-year-old ex-carpenter from Newcastle battling to stay on welfare connected with the George Miller-led jury, highlighting the resonance of Loach’s timely social critique.
It should be no surprise then that the jobless were frequent fixtures at the 2016 Locarno Film Festival,...
While Ken Loach’s “I, Daniel Blake” was surprisingly awarded the Palme d’Or this May, many critics slammed the film (and Cannes judges) for its blunt portrayal of the disenfranchised worker. Few audiences dig being preached at, and Loach’s politics were seen to trump its storytelling. Regardless of how mawkish one may find Loach’s alleged swan song, his concern for a 59-year-old ex-carpenter from Newcastle battling to stay on welfare connected with the George Miller-led jury, highlighting the resonance of Loach’s timely social critique.
It should be no surprise then that the jobless were frequent fixtures at the 2016 Locarno Film Festival,...
- 8/11/2016
- by Annabel Brady-Brown
- Indiewire
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