BEN CHACKO reports on fears at TUC Congress that the provisions in the legislation are liable to be watered down even further

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.

Featuring films with substantial political themes, this year’s festival has ignited a vibrant discussion, suggests RITA DI SANTO

RITA DI SANTO gives us a first look at some extraordinary new films that examine outsiders, migrants, belonging and social abuse

RITA DI SANTO draws attention to an audacious and entertaining film that transplants Tarantino to the Gaza Strip

RITA DI SANTO reports on the films from Iran, Spain, Belgium and Brazil that won the top awards