Ken Loach

Ken Loach
1)His work is free of embellishment or overstatement.
2)He keeps his camera fixated on his subjects - no matter
    how painful the subject material.

Mast & Kawin explain: 
Loach’s refusal to cut away from painful images is itself a moral statement, a commitment to the abused and the excluded. His characters are usually surrounding by destructive people in their own families, or in the courts and welfare systems. 

Kes (1969)
1)A drama about a young boy who is abused by his half-brother.
2)His mother refers to him as hopeless
3)His father is absent. 
4)His greatest fear is ending up working in a coal mind
5)He ends up taking falconry and training 
    a kestrel known as "Kes."

Explanation by Graham Fuller: 

"Loach’s films have consistently probed the dynamics of the class war. In Kes, the classes divide on generational rather than economic lines. The antagonistic, manipulative upper echelon are the adults, specifically the teachers and a youth employment officer, who enforce the social structures that keep people poor, uneducated, and exploitable as a steady source of cheap labor, and the oppressed underclass are the schoolchildren, the future rank and file of the mines and factories...

...The visuals of Loach’s previous work had been influenced by Godard and featured handheld camera work, jump cuts, and cutting to music. Kes marked a decisive shift in style. Loach and the cinematographer, Chris Menges, who had operated the camera on Poor Cow and worked with the Czech cameraman Miroslav Ondrícek on Lindsay Anderson’s If…. (1968), adopted the precise, cool, observational style of the wry humanist films directed in Czechoslovakia by the likes of Milos Forman and Jirí Menzel. Loach has said that they had 'decided that the effort shouldn’t be to make the camera do all the work but should be to make what is in front of the camera as authentic and truthful as possible. The camera’s job was to record it in a sympathetic way and to be unobtrusive, not to be slick. So when we came to Kes, there was a conscious move away from newsreely, chasing kind of photography to a more reflective, observed, sympathetically lit style of photography.' They used natural lighting, emphasizing clarity, dark though much of the film is."

Kes (Ken Loach, 1969):

Trailer for Kes Click Here