Returning to Newcastle after shining his coruscating lens on the inhumanity of the benefits system in I, Daniel Blake, Ken Loach now casts his eye on the gig economy and the exploitation of workers in Sorry We Missed You. A struggling dad and husband gets a job as a delivery driver, coerced into handling unfair responsibility and meeting impossible targets, with the stability of his family bearing the brunt of the stress.

José argues that Sorry We Missed You only tells us what we already know; Mike contends that its dramatisation makes it scarily real. We’re in agreement that it’s not especially interesting filmmaking, though, José suggesting that Loach doesn’t trust images to convey what he wants. And José has never enjoyed his depiction of the working class, finding it unrealistic at best, with no joy or love available to his films’ victims, though he agrees – with some relief! – that there is love in the central family here. Although there’s a lot to criticise in his often mechanical filmmaking, we agree that Loach makes meaningful films with which he sincerely wants to make a difference, and that’s admirable to say the least.

If nothing else, Sorry We Missed You inspired Mike to try and do one nice thing for a stranger upon leaving the cinema, and that must mean it’s a work of genius. If, however, you are already someone who does nice things, then you may find it less inspiring, though it is in some respects vital. It won’t do you any harm to wait until it’s shown on telly though.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.