And yet here is a film that almost effortlessly casts emotional depth and compelling social commentary through the lens of its two protagonists.

While many critically acclaimed movies are buoyed by their flashy craftsmanship and ostentatious use of cinematic technique (which I love nonetheless when done right), there is an equally fascinating space for the films who reject these notions. Indeed, unassuming style is a technique in and of itself, and when paired with the right material it can be equally effective. This year’s “Manchester By the Sea” may be a more mainstream example of this. The work of the Dardenne Brothers (most recently “Two Days, One Night”) also comes to mind.

Another entry to add now is Ken Loach’s “I, Daniel Blake.” In blue-collar England, an aging carpenter recovering from a heart attack is forced back into the job search, which is as foreign as a new language for this elder craftsman. In our first few scenes, we see Dan face countless bureaucratic roadblocks on his road toward any shot of achieving financial security. This is a film that pays tribute to the working-class people, whose lives are the most impacted by government implemented institutions.

Dan is unique in that he’s a relic in two ways. First, he’s a man with a craft. Being a master carpenter has never been a lucrative profession, and in our present world has been essentially lost with the advent of more tech-savvy alternatives. My parent’s generation grew up with woodshop as a staple elective in grade school; now that’s been all but entirely replaced with computer classes. A generation that would rather not let their kids’ hands be worn down in favor of them staring at a screen all day. Soapbox aside, Daniel Blake is an anomaly for this reason and the world doesn’t know what to do with him. His age and profession go hand in hand as he feels lost in a modern world that is more interested in keeping ‘order’ than actually helping people in the system that it is theoretically supposed to be serving.

The film develops a new dimension with the introduction of Hayley Squires, a single mother Dan meets as the two struggle for any kind of governmental aid. United in their desperation, they form a loving friendship where Dan’s craftsmanship and tender affection is actually valued. All throughout his community Dan is someone who brings greatness into every corner, and yet it is all in ways that cannot be monetized, so he can’t escape his financial struggle. In this way, the film demands discussion: its subdued style makes no pandering to tell you what emotions to have, but seeing these characters and their authentic struggles, one begs the question if something needs to be amended here.

Like its protagonist, this is a film likely to get lost amidst other holiday movies in favor of more heavily marketed, big-budget fare, even among the prestige pictures. And yet here is a film that almost effortlessly casts emotional depth and compelling social commentary through the lens of its two protagonists. And at the very least, by the end of the film, you’ll be reminded that the most valuable parts of life cannot be monetized and that there is no shortage of love that can be shared amongst all fellow men and women in this world.

‘I, Daniel Blake’ is rated R for language. 100 minutes. Now playing at Laemmle’s Royal Theatre.