{shortcode-1a89c0440c9cf3abcbe0056015b2d40fb61abda0}Ken Loach—winner of the 2006 Palme D’Or and a director who has earned a reputation for tackling difficult social issues in his work—returns to Cannes with a seething indictment of bureaucratic impersonality. “I, Daniel Blake,” simply shot and minimally edited, is drenched in visceral and unadulterated realism. It is also one of the most powerful and moving films in recent memory.

“Daniel Blake” tells the story of its titular character, a kind-hearted middle-aged Newcastle carpenter who, after suffering a heart attack, is forced to stop working. Turning to the welfare state for assistance, he is confronted with the tragic realities of a modern society bogged down by miles of cold and unfeeling red tape.

Here’s what’s particularly distressing: Daniel, a hard-working and generous soul who has simply fallen on hard times, embodies the very reason social safety nets are created, yet the system engineered ostensibly to give a much-needed break to such decent men seems more intent on pounding its supposed beneficiaries into submission. Exasperated at every turn by the almost laughable inefficiencies of a blindingly complicated network, Daniel is bounced from one broken program to the next. Whether they be for employment insurance or a job seeker’s allowance, there are always stupefying catches; ridiculous paperwork; and government employees who appear completely incapable of empathizing with the plight of the unfortunate waiting around the corner.

Known for employing relatively obscure on-screen talent to superb effect, Loach has found yet another cast of unheralded gems in “Daniel Blake.” In particular, Dave Johns’s leading performance as everyman Daniel Blake is an absolute tour de force. His ability to seamlessly synthesize brilliant comedic timing (Johns is a comedian by profession) with heart-wrenching pathos lies at the heart of the film’s dynamic appeal, lending credibility to a polemic screenplay which might have otherwise languished in excessive pedantry. Johns’s supporting cast, with a stand-out in the form of Hayley Squires as a down-on-her-luck single mom, is equally impressive.

Beyond the quality of its acting performances, what ultimately makes “I, Daniel Blake” a great film is its honesty. A film like this could have easily been mawkish and exploitative. However, Ken Loach resists the temptation to poeticize or romanticize, opting instead for the version that rings truest. The movie’s stunning finale, a darker and more unforgiving ending than many may have hoped for, is a testament to Loach’s masterful restraint.

“I, Daniel Blake” is a ballad for the common man—or perhaps it is a eulogy. We are not our National Insurance Number and we are not blips on a screen, the film tells us. If we are to retain our humanity, such is a message we must all take to heart.

—Staff writer Steven S.K. Hao can be reached at steven.hao@thecrimson.com.