Recensioni di Metacritic

Loach and Laverty fervently argue that through solidarity and a recognition of real interests, British people can naturally show empathy to immigrants and refugees.

An intimate but ambitiously mounted ensemble piece, The Old Oak ranks among Loach’s foremost state-of-the-nation dramas.

If this is the end of the road for a British filmmaking great, it’s a thoughtful, heart-filled finale. British cinema’s old oak still stands tall.

The third part in a loose, geographically defined trilogy, as sensitively penned by Loach collaborator Paul Laverty, The Old Oak is a gentler film than the stark austerity painted by I, Daniel Blake or the chilling dissection of the gig economy in Sorry We Missed You. The film is, however, astute in its depiction of a disenfranchised community, ravaged by vulture property speculators and post-industrialisation.

Although a lot of the film feels like a breathless box-ticking exercise designed to Include Every Pertinent Fact, the chemistry between Turner and Mari leads to a relationship rarely seen in cinema: a platonic friendship between an older man and a younger woman born of mutual respect.

What Loach adds to this scenario, as he’s done in most of his films, is a natural intimacy that goes beyond the issues to bring something human and emotional to the table. In its best moments, The Old Oak hits those powerful notes without pulling too hard on your heartstrings, with lived-in performances from a nonprofessional cast, including a few actors who were in the director’s most recent movies.

Ebla Mari, the actor who plays Yara, makes Yara’s despair over her missing and possibly murdered father, and her agony at having had to abandon her country, incredibly layered and precise. Her performance doesn’t allow us to phone in our empathy.

A fitting — and frustrating — end to an extraordinary career. Ken Loach’s powerful, poignant storytelling is occasionally stymied by his less subtle impulses.

The final message of hope is resolutely upbeat and desperately needed.

It’s not enough for Loach and Laverty to have their hearts so reliably in the right place. The Old Oak is sluggishly predictable in plot, but also sharply unsatisfying at the end.