With the death of Pope Francis, the world loses not only a church leader but also a moral compass
Latest editorial
Back in Cannes again, Ken Loach plumbs pain of inequality
RITA DI SANTO caught up with the legendary socialist film maker at the debut of his new film on the plight of delivery drivers in today’s neoliberal hellscape
LYNNE WALSH previews the Bristol Radical History Conference this weekend
Keir Starmer’s £120 million to Sudan cannot cover the government’s complicity in the RSF genocide or atone for the long shadow of British colonialism and imperialism, writes CLAUDIA WEBBE
Join the traditional march from Clerkenwell Green, which will bring together countless international workers’ organisations in a statement against the far right
Ecuador’s election wasn’t free — and its people will pay the price under President Noboa
Mountains of research show that hardcore material harms children, yet there are still no simple measures in place
We face austerity, privatisation, and toxic influence. But we are growing, and cannot be beaten
SINCE Ken Loach began directing in 1964, he has been invited to Cannes may times, winning the Palme D’Or twice with The Wind That Shakes the Barley in 2006, and 10 years later with the trenchant and timely I, Daniel Blake.
I caught the debut of his latest, Sorry We Missed You, a powerful, visceral, and passionately lucid film that probes Britain, giving a masterful depiction of a modern working-class family.
Ricky, Abby and their two children are a lovely family who care for each other. Ricky wants a better future for them and decides to sell his wife’s car to buy a van and work as a freelance driver for a big company. However, the conditions of his contract are strict, with all burdens placed on him alone, never shared by his employer.
More from this author
RITA DI SANTO speaks to Laura Carreira about her study of workers in an Amazon warehouse, On Falling
In the second of a two-part report RITA DI SANTO speaks to Palestinian film-maker Mohammed Almughanni
RITA DI SANTO casts an eye over the winners - and the overlooked films - from this year’s festival
RITA DI SANTO assesses the political reaction to Francis Coppola’s epic, self-funded depiction of the decline of the US empire
