Ken Loach On Whether ‘The Old Oak’ Is Really His Final Film: “One Day At A Time” – Cannes

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Leo Barraclough International Features Editor In “The Old Oak,” which played in Competition in Cannes, Ken Loach portrays a village in the North-East of England where the indigenous white community comes into conflict with Syrian refugees – a conflict fuelled by the despair, deprivation and decline of the rust-belt region. Such conditions can be a seed-bed for far right groups, the director tells Variety. Such issues have not been explored sufficiently in film and television, Loach says, and he draws a parallel with the portrayal of the rise of Nazism in Germany in the mass media. “We have endless programs about the Second World War, about the horrors of Nazism and fascism, about the racism, about the Holocaust. Quite properly, we have endless programs about that, but what they refuse to point out is that that arose from alienation, anger, feeling cheated, and finding scapegoats. And that’s how we ended up with Hitler, and that’s the ground in which the far right flourishes. One of the points of the film is to say: This is the cause of fascism. This is where it comes from. This is its seed-bed, and it comes as an inevitable consequence of our economic system. Because if the neoliberal agenda was an essential development for capitalism, to use the old-fashioned word, then that’s where fascism comes from. Implicit in that is that the far right will rise because that’s how people will be heading. And they know that and yet the mass media, the press, just turn their backs on that. They’ll tell us all about the horrors of Hitler. Sure. But they won’t tell us how he came to power. And that’s the huge lesson. And we see it in essence now all the time.”

The Old Oak will be his last.Speaking at a press conference for his new movie at the Cannes Film Festival, Loach was asked by Deadline whether reports about his retirement are true.“One day at a time,” he responded. “If you get up in the morning, and you’re not in the obituary column; one day at a time.”It comes after he told The Hollywood Reporter last month that “it would be hard to do a feature film again” because “your facilities do decline.”He said: “Films take a couple of years and I’ll be nearly 90,” he said of a potential next movie.

Two films by Arab women directors are sharing the L’Oeil d’or (Golden Eye) prize for the best documentary in Cannes. Four Daughters (Les Filles d’Olfa) by Tunisian filmmaker Kaouther Ben Hania and The Mother of All Lies (La Mère de tous les mensonges) by Moroccan filmmaker Asmae El Moudir were announced as the winners at a joint ceremony this morning at the Palais in Cannes.

Owen Gleiberman Chief Film Critic Tommy Joe Ballantyne (Dave Turner), the central character in Ken Loach’s “The Old Oak,” is a middle-aged landlord and proprietor of a pub that sits near the bottom of a sloped street of working-class row houses. We’re in an unnamed village in the northeast of England, and the pub, called the Old Oak, has seen better days. So has Tommy, who’s known as TJ. Dave Turner, the very good actor who plays him, resembles a bone-weary cross between John C. Reilly and Michael Moore. There’s a sweet-souled directness to his sad prole stare, and he treats his customers, some of whom he has known since they were in grade school together, with quiet affection and respect. But the pub is falling apart, and the property values in the neighborhood have plunged. TJ is barely scraping by serving pints of bitters.

By Hanna RantalaCANNES (Reuters) - Ken Loach said on Friday he does not know if "The Old Oak," the 86-year-old British director's attempt to win the Cannes Film Festival's top prize for a third time, would be his last. "Oh, I don't know, I live day by day," said Loach, who turns 87 in June. "If you read the obituary columns and you're not in them, it's a good day.

What could well be Ken Loach’s final film has as much fire and fury as his debut Poor Cow did in 1967, if we discount his pioneering TV work in the run-up. The visual style hasn’t changed a great deal in the years since, but that’s because the British movie veteran, soon to turn 87, isn’t much fussed about surfaces, it’s the inner lives of his characters that he wants to capture. In that respect, The Old Oak would make a fitting swansong, capping the recent North-East trilogy with a vital film that is clearly the work of the team behind previous Cannes Competition hits I, Daniel Blake and Sorry We Missed You.

Only nine directors have ever won the Palme d’Or twice. Francis Ford Coppola did it in the ’70s with The Conversation and Apocalypse Now. Ruben Östlund joined the club last year after following The Square with Triangle of Sadness. But this year, there is a very real possibility that, at 86, Ken Loach may go above and beyond that by winning a third Palme for his new film, The Old Oak. Loach first won in 2006 with the historical Irish drama The Wind That Shakes the Barley, then doubled up in 2016 with I, Daniel Blake, a caustic study of Britain’s healthcare crisis. After that came Sorry, We Missed You, a no-less withering look at the punitive gig economy. Like the latter two films, The Old Oak is set in the North East of England and completes an unofficial trilogy, this time with a slightly more optimistic bent. Like all of Loach’s output since 1996, it was written by Paul Laverty, and the pair sat down with Damon Wise to discuss the film’s themes of humanity and social responsibility.

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Elsa Keslassy International Correspondent Girls Supports Girls, the French film sorority launched by producer Vanessa Djian and publicist Karolyne Leibovici, made its debut at this year’s Cannes Film Festival with the backing of Orange, in association with Kering. A flurry of French female talent, notably “Simone” actress Elsa Zylberstein and “Houria” director Mounia Meddour, took part in the networking luncheon which was hosted on the rooftop terrasse of Kering’s Women in Motion event at the Majestic hotel. Djian, whose production banner Daïdaï Films recently became part of Newen Group, and Leibovici, the founder of A&K communication, launched Girls Supports Girls four years ago to connect and create opportunities for female producers, actresses, executives and diverse talent coming from the film, TV and media industries.

Imad Mughniyeh killed thousands of people with car bombs — including 220 Marines stationed in Beirut in 1983 — before he himself was blown to bits in Syria 25 years later.The story of Mughniyeh an Islamic Jihadist dubbed “The Man of Smoke,” is dramatized, for the first time and in detail, in “Ghosts of Beirut,” a four-part Showtime series mixing real, documentary-style on-camera interviews with scripted drama that goes inside the joint CIA/Mossad operation to track down and assassinate Mughniyeh … or so the story goes, since US and Israeli officials have never officially confirmed their agencies’ roles in sending him to kingdom come.“Ghosts” was created by Lior Raz and Avi Issacharoff, who also developed the hit Netflix series “Fauda,” in which Raz stars as Israeli Defense Force team member Doron Kavillio. (Raz himself was a commando in an IDF counter-terrorism unit.)Raz and Issacharoff also co-wrote “Ghosts of Beirut,” filmed in Morocco, with Joëlle Tauma and Greg Barker (who directed all four episodes).

Christopher Vourlias On a recent morning in Cannes, Scottish singer-songwriter Donovan sat over coffee at the Hotel Martinez and recalled a phone call he received nearly 60 years ago, not long after he’d made a splash on the British folk scene. On the other end of the line was a rising screenwriter and director called Ken Loach. “He said he was making his first feature…and would I help him with the music?” Donovan told Variety. The film, a kitchen sink drama called “Poor Cow,” based on a novel by British playwright and author Neil Dunn, tells the story of a working-class single mother leading a hard-luck life in the slums of London. It’s a movie that set the tone for the type of social drama that propelled Loach throughout a remarkable, prolific career.

Elsa Keslassy International Correspondent Kaouther Ben Hania, the Oscar-nominated director of “The Man Who Sold His Skin” whose latest film “Four Daughters” is competing at this year’s Cannes Film Festival, will next direct “Mimesis,” an epic love story set in Tunisia. While the plot is under wraps, the story is set in two different periods, the 1990s and the 1940s, paying tribute to cinema and Arab-Muslim cultural heritage. It’s being produced by Nadim Cheikhrouha at Tanit Films, who produced Ben Hania’s “Four Daughters” and her previous film “The Man Who Sold His Skin” which world premiered at Venice where it won best actor for Yahya Mahayni and was nominated for best international film at the Oscars in 2021.

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Christopher Vourlias With Jonathan Glazer’s Auschwitz-set Holocaust drama “The Zone of Interest” competing for the Palme d’Or and a host of Polish producers bringing buzzy upcoming projects to the Marché du Film, the Polish industry should again have Cannes talking. Here’s a rundown of some of the highlights: The Zone of Interest(Competition)Director: Jonathan GlazerProducers: James Wilson, Ewa Puszczyńska (JW Films, Extreme Emotions)Sales: A24The veteran British filmmaker’s first film in nearly a decade, which will compete for the Palme d’Or, is a Holocaust drama loosely based on the novel by Martin Amis that’s sure to be among the festival’s most talked-about films.