Ken Loach turns down an award

The director shows solidarity with film festival workers.

Some decisions hit hard, tearing down the wall of polite hypocrisy behind which the film community often hide. Ken Loach’s decision to turn down an award from the Turin Film Festival in solidarity with outsourced festival workers made for encouraging news. It appears that his political convictions are not confined to celluloid; lights can sometimes be lit off the set. When economic recession hits hard, political opportunism becomes a palatable option, but not for Ken Loach it seems. In the press statement issued to the Turin Film Festival, the director of Bread and Roses said that to "accept the Award and make a few critical comments would be weak and hypocritical. We cannot say one thing on screen and betray that in our actions”.

The dispute, which had been brewing for a while, came to public attention on the eve of the festival when representatives of a grassroots union started picketing the main festival venue. Slogans such as “shame on you!” and “these are the people who make culture”, sarcastically referring to the festival organisers, "welcomed" Turin's centre-left mayor, Piero Fassino. The leaflets union organisers and activists handed out read, “I love you Ken”, and explained the dispute that brought them on the streets and led Loach to decline his award. According to the union, workers’ rights have been progressively eroded by outsourcing and temporary contracts that prevent the amelioration of working conditions. The Museum of Cinema in Turin, which is in charge of the film festival, has outsourced cleaning and security services for the past 12 years to a company called Coop Rear. “A wage cut was followed by allegations of intimidation and harassment. A number of people have been dismissed, Loach’s statement read. “The fact that it is happening throughout Europe does not make it acceptable." The director had been contacted directly by union representatives prior to his arrival in Turin for the 30th edition of the festival. Romolo Marcella, regional secretary of the USB (Confederation of Grassroots Unions), said that they got in touch with Loach back in August with documents detailing their claims. Without being urged to do so by the union, Loach made his decision not to pick up the award official early last week.

The festival organisers claimed that Loach was ill-informed and that they cannot be held responsible, neither directly nor indirectly, for the behaviour and employment practices of a third party (in this case, Coop Rear). Alberto Barbera, the president of the Museum of Cinema as well as the Venice Film Festival's new artistic director, added that the festival is renowned for its commitment to the fair and just treatment of workers. According to Italian press reports, Coop Rear, whose president is also a local town councillor, has decided to take legal action against the Loach. The festival organisers have retaliated by withdrawing Loach’s latest film, The Angels Share, which was due to be screened at the festival later this week. That the whole affaire took place in Turin is significant since the northern industrial city has witnessed in the past massive industrial action and widespread militancy. The festival itself, widely regarded as a left-wing event, has in the past had sections of its programme dedicated to labour-related issues. One of its prizes, the Cipputi award, which Loach was given in 1998, takes its name from a blue-collar character created by the celebrated Italian cartoonist, Altan.

Turin has invested heavily in culture as its industrial infrastructure withered. Home to the main FIAT car manufacturing plant and formerly home to a large working-class population, Turin is also Italy’s main literary centre. TFF artistic director, the filmmaker Gianni Amelio, after having put Loach's decision to renounce the award down to his temperament, stated his respect for the director's choice while at the same time deeming it inappropriate. As the Italian cultural establishment walks the tightrope of diplomacy, Loach has decided to stand shoulder to shoulder with those who can barely afford to buy a festival ticket.

Director Ken Loach (Photograph: Getty Images)
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“You’re a big corporate man” The Apprentice 2015 blog: series 11, episode 8

The candidates upset some children.

WARNING: This blog is for people watching The Apprentice. Contains spoilers!

Read up on episode 7 here.

“I don’t have children and I don’t like them,” warns Selina.

An apt starting pistol for the candidates – usually so shielded from the spontaneity, joy and hope of youth by their childproof polyester uniforms – to organise children’s parties. Apparently that’s a thing now. Getting strangers in suits to organise your child’s birthday party. Outsourcing love. G4S Laser Quest. Abellio go-carting. Serco wendy houses.

Gary the supermarket stooge is project manager of team Versatile again, and Selina the child hater takes charge of team Connexus. They are each made to speak to an unhappy-looking child about the compromised fun they will be able to supply for an extortionate fee on their special days.

“So are you into like hair products and make-up?” Selina spouts at her client, who isn’t.

“Yeah, fantastic,” is Gary’s rather enthusiastic response to the mother of his client’s warning that she has a severe nut allergy.

Little Jamal is taken with his friends on an outdoor activity day by Gary’s team. This consists of wearing harnesses, standing in a line, and listening to a perpetual health and safety drill from fun young David. “Slow down, please, don’t move anywhere,” he cries, like a sad elf attempting to direct a fire drill. “Some people do call me Gary the Giraffe,” adds Gary, in a gloomy tone of voice that suggests the next half of his sentence will be, “because my tongue is black with decay”.

Selina’s team has more trouble organising Nicole’s party because they forgot to ask for her contact details. “Were we supposed to get her number or something?” asks Selina.

“Do you have the Yellow Pages?” replies Vana. Which is The Apprentice answer for everything. Smartphones are only to be used to put on loudspeaker and shout down in a frenzy.

Eventually, they get in touch, and take Nicole and pals to a sports centre in east London. I know! Sporty! And female! Bloody hell, someone organise a quaint afternoon tea for her and shower her with glitter to make her normal. Quick! Selina actually does this, cutting to a clip of Vana and Richard resentfully erecting macaroons. Selina also insists on glitter to decorate party bags full of the most gendered, pointless tat seed capital can buy.

“You’re breaking my heart,” whines Richard the Austerity Chancellor when he’s told each party bag will cost £10. “What are we putting in there – diamond rings?” Just a warning to all you ladies out there – if Richard proposes, don’t say yes.

They bundle Nicole and friends into a pink bus, for the section of her party themed around the Labour party’s failed general election campaign, and Brett valiantly screeches Hit Me Baby One More Time down the microphone to keep them entertained.

Meanwhile on the other team, Gary is quietly demonstrating glowsticks to some bored 11-year-old boys. “David, we need to get the atmosphere going,” he warns. “Ermmmmm,” says David, before misquoting the Hokey Cokey out of sheer stress.

Charleine is organising a birthday cake for Jamal. “May contain nuts,” she smiles, proudly. “Well done, Charleine, good job,” says Joseph. Not even sarcastically.

Jamal’s mother is isolated from the party and sits on a faraway bench, observing her beloved son’s birthday celebrations from a safe distance, while the team attempts to work out if there are nuts in the birthday cake.

Richard has his own culinary woes at Nicole’s party, managing both to burn and undercook burgers for the stingy barbecue he’s insisted on overriding the afternoon tea. Vana runs around helping him and picking up the pieces like a junior chef with an incompetent Gordon Ramsay. “Vana is his slave,” comments Claude, who clearly remains unsure of how to insult the candidates and must draw on his dangerously rose-tinted view of the history of oppression.

Versatile – the team that laid on some glowstick banter and a melted inky mess of iron-on photo transfers on t-shirts for Jamal and his bored friends – unsurprisingly loses. This leads to some vintage Apprentice-isms in The Bridge café, His Lordship's official caterer to losing candidates. “I don’t want to dance around a bush,” says one. “A lot of people are going to point the finger at myself,” says another’s self.

In an UNPRECEDENTED move, Lord Sugar decides to keep all four losing team members in the boardroom. He runs through how rubbish they all are. “Joseph, I do believe there has been some responsibility for you on this task.” And “David, I do believe that today you’ve got a lot to answer to.”

Lord Sugar, I do believe you’re dancing around a bush here. Who’s for the chop? It’s wee David, of course, the only nice one left.

But this doesn’t stop Sugar voicing his concern about the project manager. “I’m worried about you, Gary,” he says. “You’re a big corporate man.” Because if there’s any demographic in society for whom we should be worried, it’s them.

Candidates to watch:


Hanging on in there by his whiskers.


Far less verbose when he’s doing enforced karaoke.


She’ll ruin your party.

I'll be blogging The Apprentice each week. Click here for the previous episode blog. The Apprentice airs weekly at 9pm, Wednesday night on BBC One.

Anoosh Chakelian is deputy web editor at the New Statesman.