Cannes (Alpes-Maritimes), special envoy.
A man pedal like a rat on a bike too small for him. He looks like a kid badly fitted on this machine out of frame. Ricky (Kris Hitchen) must absolutely recover the keys of his van, acquired at the cost of big sacrifices to influence the course of the family existence.
With this frantic ride, Ken Loach cultivates the metaphor on the infantilization of a character eager to find his salary independence. Indeed, Ricky is a brave all-rounder. He never perceived unemployment despite precariousness. He chained odd jobs, drunk under the debt and wants to get his family out of the rut. He is convinced that he has found a lasting solution by becoming a franchisee of a delivery company. On his own, he knows he will not have to count his hours. But work does not scare him. Alas, very quickly, deliveries are more difficult than expected. The fate of his wife, Abby (Debbie Honeywood), benevolence benevolence, does not appear much brighter. Help at home, she is paid for the visit, without remuneration for overtime, however inherent to the nature of her job. Especially since she had to get rid of his car so that Ricky can buy his van. But even bus tickets are for his apple. The extended hours, the attitude of Seb (Rhys Stone), their passionate son of tags and in the process of deschooling, undermine the daily life and jeopardize the family balance. Even the communicative energy and joy of Liza Jane (Katie Proctor), the little sister, can not defuse the clashes that threaten to break up the home. While at the warehouse, Maloney (Ross Brewster), the manager, increases the pressure to improve yields.
A work that struggles to find its good carburation
At light-years away from some aspects of the Cannes Film Festival, Ken Loach has become a key element, with 14 appearances in competition and two gold awards. A temptation tempted by retirement, the 82-year-old British filmmaker is happily following his observation of the evolutions of the world. On a strict political level, Sorry we missed you is irreproachable. Ken Loach and his screenwriter, Paul Laverty, show the consequences of uberisation and wage exploitation of precarious workers and the poor. Always very accurate, the actors carry out its purpose, give it a supplement of flesh and soul. Moreover, the feature contains some very beautiful sequences, such as this exchange between Abby and Mollie (Heather Wood), one of his patients, around photos where she evokes her militant past, as a digression reserved for the workers' memory .
Nevertheless, this work struggles to find its good carburation. It suffers from an implementation too long and a scenario too didactic. Ken Loach is rarely better than when he instills comical breaths into his dramas. We remember the sweet irony that counterbalanced Daniel Blake's daily tragedy or the hilarious Raining Stones hunt. Not to mention the even more candid laughter provoked by the ethical adventures of the Part of the Angels or the relationship between Cantona and the fan of "Manchester United" in Looking for Eric. Unfortunately, the English filmmaker almost seems to have lost his sense of humor. As if the market and the digital revolution had made capitalism too overwhelming to allow itself to smile. It is all the more regrettable that one of the few scenes where he uses it in a verbal altercation between football fans boosts the narrative. In this sad context, his system is running out of steam, his demonstration is losing its strength, his gaze is sometimes sorely lacking in distance. Sorry we missed you remains an interesting work but with this album, Ken Loach signs one of his most pessimistic films.