just made a rare red-carpet appearance with her 15-year-old daughter, , at the 2023 French Open. On June 10, the 42-year-old founder attended the women's singles final in a striped shirt dress with a key-hole cutout and a pair of white platform sneakers. Honor, meanwhile, dressed more relaxed in a muted yellow summer shorts set with a matching button-up and her own pair of white trainers. Honor is the eldest of between Jessica Alba and her husband Cash Warren, however, the teenager looked more like one of her mom's Dark Angel clones with their matching middle parts and strong Alba genes. Jessica Alba and Honor Marie Warren attend the 2023 French Open at Roland Garros on June 10, 2023.Jessica Alba attends the 2023 French Open at Roland Garros on June 10, 2023.While seated in the stands, the pair were photographed taking a selfie during the nail-biting match between Karolina Muchova and Iga Swiatek.
The Partnership: Ken Loach And Paul Laverty On ‘The Old Oak’, Their Return To The North East Of England & The Chance To Make History By Winning A Third Palme D’Or
26.05.2023 - 15:13 / deadline.com
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.
Ken, what persuaded you to go back into directing? Were you prepared to hang up your spurs after the last movie?
LOACH: Well, I think there was an essential story to tell. We did two films in the North East, and they were both very positive experiences, in terms of the people we worked with, their overall strength and cheerfulness and understanding of their own situation, and their warmth and humanity. But it was very clear that there were huge contradictions at work within the social pattern that had emerged over the last decades. And it was crystallized in the old coal fields of County Durham. I mean, the other old industries have gone too, like ship-building and steel. But you could see most acutely where the mines had been — the
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Left-Wing Director Ken Loach, Writer Paul Laverty on the Poisonous Seed-Bed for Far Right Politics in Britain’s Rust-Belt Communities
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.”
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‘The Old Oak’ Review: Ken Loach’s Drama Shines a Vital Light on Working-Class British Racism Until It Succumbs to Soft-Hearted Wish-Fulfillment
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.
Ken Loach at Cannes: 'don't know' if 'The Old Oak' will be last film
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.
‘The Old Oak’ Review: Strength, Solidarity And Resistance In A Vital, Moving Social Parable — Cannes Film Festival
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.