O Último Pub

I thought that Yara and TJ were very good characters. In fact, I'm disappointed to have seen an interview with the actor who played TJ who said that's going to be his one and only film. I'd really like to see him again in more movies. I am sure we will see the actress who played Yara again. I like films that are naturalistic. There are so many films in which conversations are so slick and word perfect and that simply does not reflect real life for most people. Both Yara and TJ were like people that I have met in real life and so I could relate to them very easily in the film..

I've seen criticism of this work based on some characters in the film being "wooden ". But again, people can be pretty wooden in real life and so it is not unreasonable to have that depicted in films here and there. We can't all be as smooth as George Clooney or Meryl Streep.

The character, Charlie put me in mind of Mark Kermode (due to his looks, not his conduct). To me, he was very much like Mark Kermode with a grey rinse.

I thought that the actor who played the electrician was very good and very reminiscent of contractors I have met.

I found the film moving and engaging.

I am one of the projectionists in the local small town cinema with only two or three shows per week. The end titles of a film is not only for crediting all people involved in the production, it is also a time to reflect and contemplate on what you experienced when watching the movie, and you can measure how touched people were by how long they stay during the end titles. When The Old Oak was the movie for the evening not a single one in the audience got up from their seats until the last line in the credits had passed, the screen had faded to black and the curtains closed. That is a mark of a very touching movie!

There's a strong argument to be made that Ken Loach is getting sentimental in his old age. 'The Old Oak (2023)' is reportedly the 87-year-old filmmaker's swan song and it's arguably one of his most hopeful films to date - especially when compared to his other recent (and superior) pictures, 'I, Daniel Blake (2016)' and 'Sorry We Missed You (2019)'. That's not to imply that this social realist call to action shies away from breaking your heart (lovers of a certain animal may just explode into a shower of tears thanks to a certain shocking scene), nor does it present itself as an overly idealised version of modern Britain. Loach still loathes the state of things and puts the blame solely on those in power (the only place it can sensibly lie), and he often uses his characters to espouse the ideals he so clearly holds close to his own heart. At the same time, though, there's an undercurrent of community and solidarity that is never fully stomped out by the racism, xenophobia and general bigotry on display by the story's least sympathetic characters. In some ways, that's almost a bigger middle finger to the system that breeds such views by scapegoating very real socio-economic issues on those who are least responsible for them (and are the most vulnerable, to boot). The narrative explores the events that unfold when a group of Syrian refugees are placed in a poverty-stricken village in the North of England that has essentially been left to rot, showcasing the disgusting resistance (i.e. Bigotry) they're met with after they've escaped a warzone and have been brought to one of the richest countries in the world only to find that people are having to choose between heating their homes and feeding their kids. It posits that the refugees and the unwelcoming community they're integrated with have more similarities than differences, and that it's only the worst members of the community that can't come to accept that. In fact, their ignorant attitudes actually hurt everyone in the village. The racism and xenophobia that is brought out of the protagonist's once friends is always extremely uncomfortable to sit through, and the film does a good job in making sure that it never even comes close to excusing - or, worse, sharing - these harmful attitudes. After a certain point, you've constantly got your guard up and anticipate some form of racially-motivated conflict at every turn, which - in some small way - puts you in the same position as its Syrian characters and further increases your empathy for them. Mainly thanks to a couple of surprisingly good performances from its non-professional lead actors, the movie is often as emotionally affecting as it is bleakly realistic. Its highs hit as hard as its lows and its important messaging is always resonant. It does have a few narrative issues that seem to mainly arise from its desire to subvert expectation in an effort to be more 'real' than a satisfyingly structured screenplay could - in their view - ever be. Certain plot elements are introduced yet never revisited, and the central concept doesn't come into play until far later than you may expect or, indeed, want. Still, it's an engaging and effective affair throughout. It isn't as good as some of Loach's other work, and it won't change the minds of those that need their minds changing simply due to the fact that they won't see it, but it's a solid and surprisingly hopeful note on which to end an impressively consistent career.

It's a refugee drama in a declining English village near Durham, England, set in 2016. It follows the experiences of the owner of the last little pub, The Old Oak, in a dying former mining town. T. J. Ballantyne (Dave Turner) is divorced, and his distant son no longer speaks to him. His pub is slowly dying along with the village when some Syrian refugees move into the town. T. J.'s only companion is a dog called Marra (Lola). Some of his regulars, like Vic (Chris McGlade), Charlie (Trevor Fox), and Eddy (Col Tait), are vicious racists, but T. J. provides some assistance to Laura (Claire Rodgerson), the woman heading the local refugee assistance efforts.

One of the refugees, Yara (Ebla Mari), is a skilled photographer who has learned good English in a refugee camp. Her mother, Fatima (Amna Al Ali), and three younger siblings are with her but speak little English. Her father, a tailor, is missing back in Syria is unknown.

The film follows the tension between the locals and newcomers and T. J.'s evolving relationship with both sides. "The Old Oak" contains no highly dramatic events, but relationships and thoughts about hope change as the story unfolds.

"The Old Oak" is a primarily gentle film about human relationships in an economically challenged community. Turner and Mari are outstanding, though Mari's character is a bit too saintly. Occasionally, the script gets a little didactic, slowing the pace. But it's a great story about refugee engagement in a small traditional village.

I don't think I've ever seen a film that emotionally hooked me as quickly as The Old Oak did. Right from the off you are dragged into the visceral and powerful emotion of this piece, and it rarely relents.

It depicts events after a group of Syrian refugees is placed in an ex mining town in the north-east of England. Despite it being a fiction, the realism that Loach brings to the film and the fact that anybody living in Britain will unfortunately recognise the language and sentiment makes it an intensely devastating film. But it is not all doom and gloom. It also shows the best of humanity and how people can rally around each other, which also makes for a truly inspiring film.

I actually think with a film like this the technical elements (even though they are mostly great) are actually irrelevant. The message of this film is so crucial and powerful and is conveyed so well, and that is the most important thing. It is impossible not be stirred emotionally by this film in only a way the best film makers can achieve.

With the awful rhetoric surrounding refugees that is encouraged and perpetrated by those in power, films like this feel more crucial than ever, making this an absolute must watch piece of cinema.