
Sorry We Missed You
Ricky and his family have been fighting an uphill struggle against debt since the 2008 financial crash. An opportunity to wrestle back some independence appears with a shiny new van and the chance to run a franchise as a self-employed delivery driver. It's hard work, and his wife's job as a carer is no easier. The family unit is strong but when both are pulled in different directions everything comes to breaking point.
The film earned $8.8M at the global box office.
Nominated for 1 BAFTA Award10 wins & 22 nominations
Plot Structure
Story beats plotted across runtime


Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
Sorry We Missed You (2019) demonstrates precise narrative design, characteristic of Ken Loach's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 1 hour and 41 minutes. With an Arcplot score of 7.0, the film balances conventional beats with creative variation.
Characters
Cast & narrative archetypes
Ricky Turner
Abbie Turner
Seb Turner
Liza Jane Turner
Main Cast & Characters
Ricky Turner
Played by Kris Hitchen
A father and former construction worker who becomes a franchise delivery driver, struggling against exploitative gig economy conditions while trying to provide for his family.
Abbie Turner
Played by Debbie Honeywood
Ricky's wife, a devoted care worker who travels long hours to help elderly clients, sacrificing her own wellbeing for her family and those she cares for.
Seb Turner
Played by Rhys Stone
The teenage son who acts out through graffiti and truancy, rebelling against a system that has failed his family while seeking his own identity.
Liza Jane Turner
Played by Katie Proctor
The young daughter who tries to maintain normalcy and support her increasingly fractured family while dealing with her own needs and fears.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Ricky and Abbie sit in a social services office discussing their financial struggles. They've been living in council housing after losing their home in the 2008 crash, relying on Abbie's care work income while Ricky searches for employment. The opening establishes a family under economic pressure, barely staying afloat.. Significantly, this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 12 minutes when Ricky is offered a "franchise opportunity" as a delivery driver by Maloney. The catch: he must provide his own van. To afford the £1,400 deposit, Ricky must sell Abbie's car—her only means of getting between her scattered care clients. This forces an impossible choice that will disrupt their fragile balance.. At 12% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 24 minutes marks the transition into Act II, occurring at 24% of the runtime. This demonstrates the protagonist's commitment to Ricky signs the franchise contract, sells Abbie's car, and purchases the van. He commits fully to the delivery system, accepting the scanner that will track his every move and the punitive terms: fines for damaged parcels, no sick pay, 14-hour days to meet quotas. He has crossed into the gig economy's "mirror world" of false entrepreneurship., moving from reaction to action.
At 50 minutes, the Midpoint arrives at 50% of the runtime—precisely centered, creating perfect narrative symmetry. The analysis reveals that this crucial beat Seb is caught spray-painting graffiti and brought home by police. Ricky arrives late to the confrontation, still in his uniform, and a heated argument erupts. Seb accuses his father of never being present and working for "slave drivers." Ricky, defensive and exhausted, slaps Seb. This false defeat marks the moment where Ricky's "opportunity" begins visibly destroying his family. The cost becomes undeniable., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 75 minutes (75% through) represents the emotional nadir. Here, During the van robbery, Ricky is violently attacked by thieves who steal his scanner and parcels. He's left bleeding and injured but refuses to go to the hospital because taking time off will mean lost wages and more fines. This literal beating represents the system's violence—Ricky is broken physically and spiritually, yet still trapped by economic necessity., shows the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 81 minutes initiates the final act resolution at 80% of the runtime. Seb returns home and sees his father's deteriorated state. In a devastating confrontation, the family finally speaks the truth: this job is killing Ricky, destroying their family, and the promised "opportunity" was a lie. But Ricky cannot stop—they're trapped by debt for the van. There's no synthesis or realization that saves them, only the crushing understanding that they must continue or lose everything., demonstrating the transformation achieved throughout the journey.
Emotional Journey
Sorry We Missed You's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs proven narrative structure principles that track dramatic progression. By mapping Sorry We Missed You against these established plot points, we can identify how Ken Loach utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish Sorry We Missed You within the drama genre.
Ken Loach's Structural Approach
Among the 7 Ken Loach films analyzed on Arcplot, the average structural score is 6.8, demonstrating varied approaches to story architecture. Sorry We Missed You represents one of the director's most structurally precise works. For comparative analysis, explore the complete Ken Loach filmography.
Comparative Analysis
Additional drama films include After Thomas, South Pacific and Dirty Dancing: Havana Nights. For more Ken Loach analyses, see Looking for Eric, Jimmy's Hall and I, Daniel Blake.
Plot Points by Act
Act I
SetupStatus Quo
Ricky and Abbie sit in a social services office discussing their financial struggles. They've been living in council housing after losing their home in the 2008 crash, relying on Abbie's care work income while Ricky searches for employment. The opening establishes a family under economic pressure, barely staying afloat.
Theme
Maloney, the delivery franchise manager, tells Ricky: "You don't work for me, you work with me. You're your own boss, your own man." This statement of false independence articulates the film's theme about the gig economy's illusion of autonomy masking exploitation and the erosion of worker rights and family bonds.
Worldbuilding
The setup introduces the Turner family dynamics: Ricky's desperation for steady work, Abbie's exhausting home care job with elderly clients, teenage son Seb's artistic aspirations and trouble at school, and daughter Liza Jane's efforts to hold everyone together. We see their cramped council house, financial strain, and the grinding routine of precarious work in Newcastle.
Disruption
Ricky is offered a "franchise opportunity" as a delivery driver by Maloney. The catch: he must provide his own van. To afford the £1,400 deposit, Ricky must sell Abbie's car—her only means of getting between her scattered care clients. This forces an impossible choice that will disrupt their fragile balance.
Resistance
Ricky debates the decision with Abbie, who resists selling her car as it will make her job much harder. He argues this is their chance for him to be "his own man" and earn real money. She reluctantly agrees to try public transport and walking between clients. The family tensions surface as Seb mocks his father's optimism and Liza Jane tries to keep peace.
Act II
ConfrontationFirst Threshold
Ricky signs the franchise contract, sells Abbie's car, and purchases the van. He commits fully to the delivery system, accepting the scanner that will track his every move and the punitive terms: fines for damaged parcels, no sick pay, 14-hour days to meet quotas. He has crossed into the gig economy's "mirror world" of false entrepreneurship.
Mirror World
Abbie struggles through her first day without the car, arriving late and exhausted to clients after long bus rides and walks. Her relationship with her elderly clients—particularly the vulnerable ones she genuinely cares for—represents the film's thematic counterpoint: real human connection and care work versus Ricky's isolated, dehumanizing delivery grind.
Premise
The "promise of the premise"—Ricky as an independent delivery driver. We follow his grueling routine: pre-dawn starts, racing against the scanner's countdown, hostile customers, impossible delivery quotas, and mounting fines for minor infractions. Meanwhile, Abbie exhausts herself on public transport, arriving late to clients. The family barely sees each other, communicating through rushed notes and missed dinners.
Midpoint
Seb is caught spray-painting graffiti and brought home by police. Ricky arrives late to the confrontation, still in his uniform, and a heated argument erupts. Seb accuses his father of never being present and working for "slave drivers." Ricky, defensive and exhausted, slaps Seb. This false defeat marks the moment where Ricky's "opportunity" begins visibly destroying his family. The cost becomes undeniable.
Opposition
Pressure intensifies on all fronts. Ricky pushes harder to meet quotas, skipping breaks and meals. Abbie collapses from exhaustion while bathing a client. Seb grows more distant and defiant, skipping school. Liza Jane struggles to manage the household chaos. The van is vandalized and robbed, costing Ricky his scanner and hundreds in penalties. Every attempt to get ahead results in falling further behind.
Collapse
During the van robbery, Ricky is violently attacked by thieves who steal his scanner and parcels. He's left bleeding and injured but refuses to go to the hospital because taking time off will mean lost wages and more fines. This literal beating represents the system's violence—Ricky is broken physically and spiritually, yet still trapped by economic necessity.
Crisis
Ricky hides his injuries and continues working, visibly deteriorating. Abbie discovers his wounds and begs him to see a doctor and take time off. He refuses, knowing the financial penalties. The family reaches its darkest point: Seb has disappeared, possibly running away; Abbie is at breaking point; Ricky is physically unable to continue but economically unable to stop. The dark night of realizing the system has consumed them.
Act III
ResolutionSecond Threshold
Seb returns home and sees his father's deteriorated state. In a devastating confrontation, the family finally speaks the truth: this job is killing Ricky, destroying their family, and the promised "opportunity" was a lie. But Ricky cannot stop—they're trapped by debt for the van. There's no synthesis or realization that saves them, only the crushing understanding that they must continue or lose everything.
Synthesis
The final sequence shows not triumph but resignation. Ricky, still injured, returns to work. Abbie continues her care rounds without a car. Seb goes back to school. The family routine resumes—not because they've overcome the system, but because they have no choice. This "finale" is a return to the grind, the system unchanged, the family surviving but fractured.
Transformation
Ricky drives his van out for another delivery shift, injured and alone. The final image mirrors the opening but shows the transformation: where there was hope for stability, now there's only entrapment. The family remains together but broken. Ricky is still "his own man" in name only—fully owned by the system. A tragic ending showing not change but the impossibility of escape from economic exploitation.




