Do you believe in the power of people? Because in a world seemingly dominated by injustice, seeing ordinary citizens rise up against persecution is a powerful reminder of hope and resilience. "Everybody to Kenmure Street," a truly inspiring documentary, captures one such moment, proving that collective action can indeed make a difference.
Directed by Felipe Bustos Sierra, this film isn't just about a single event; it's about the spirit of resistance. But before we dive into the specifics of that pivotal day in Glasgow, Scotland, the film first takes us on a seven-minute journey through the city's evolution. We see the issues that have shaped its communities and its rich history of protest, from clashes between trade unionists and Margaret Thatcher to Glasgow's own version of the Black Lives Matter movement in 2020. This moving montage is masterfully set to a cover of Lee Hazlewood’s “Your Sweet Love,” performed by Rachel Sermanni, Alana Rae, and Barry Burns of Mogwai, who also composed the documentary's compelling score.
The film's title, "Everybody to Kenmure Street," refers to a call to action sent out by activist networks on May 13, 2021. On that day, during the dawn of Eid al-Fitr, a UK Home Office immigration enforcement van arrived in the diverse Pollokshields neighborhood of Glasgow. This area is home to a large Muslim and South Asian population. Two men of Indian origin were taken from their home on Kenmure Street and detained in the vehicle, accused of immigration violations. This abrupt raid was entirely in line with the increasingly hostile policies of the Home Office, then under the leadership of Conservative Home Secretary Priti Patel.
And this is the part most people miss: the immediate, spontaneous response. Before the van could drive away, a brave individual crawled underneath it, effectively immobilizing the vehicle and sparking an eight-hour protest. Initially, only a handful of people were present. But as Police Scotland officers arrived on the scene, the number of Glaswegians showing up in solidarity with the two detainees swelled from a few dozen to hundreds, and eventually to well over a thousand. Astonishingly, while some protesters knew the detained men as neighbors, the vast majority were complete strangers driven by a shared sense of injustice.
But here's where it gets controversial... Some might argue that such protests are futile, disrupting daily life without achieving lasting change. What do you think? Is the act of standing up for what you believe in, even when the odds seem stacked against you, a victory in itself?
"Everybody to Kenmure Street" isn't Sierra's first foray into documenting the power of protest in Scotland. His previous film, "Nae Pasaran" (2018), which won Best Feature at the BAFTA Scotland Awards, tells the incredible story of Rolls Royce factory workers in East Kilbride in the 1970s. These workers were assigned to repair engines for planes used by the Pinochet dictatorship in Chile for domestic repression. However, refusing to be complicit in the regime's brutality, they refused to perform the necessary inspections, allowing the engines to rust. Amazingly, this act grounded nearly half of the Chilean air force, preventing these planes from being used in the bombing of the Chilean presidential palace and the destruction of the country's democratic government. In "Nae Pasaran," Sierra reunites the key protest organizers, allowing them to share their own experiences and providing a powerful overview of the Chilean dictatorship's atrocities.
A particularly poignant moment in "Nae Pasaran" features someone observing that the factory employees' protest was "an anecdote barely remembered, but it is extremely important." This sentiment also applies to the film itself, as the now-elderly subjects discover the profound impact their boycott had on Chilean families for over four decades. Similarly, in "Everybody to Kenmure Street," a participant states early on that while no one knew what would happen, those who showed up at least wanted to "be witnesses to something." This serves as a powerful thesis statement for the documentary's storytelling approach.
It's estimated that around 2,500 people were present at the protest, and approximately 2,000 of them recorded snippets of the events on their smartphones or cameras. Sierra meticulously combed through social media to gather this fragmented footage, piecing together a coherent narrative of the day's events from multiple perspectives.
The documentary's editing is truly remarkable, creating a sense of escalating tension while maintaining a clear understanding of the setting. Despite the fact that no single person had a complete view of the action, Sierra and editor Colin Monie skillfully weave together the various perspectives. Some cameras were far from the van, while others were so close to the police that you could almost feel the tension.
The abundance of cameras allowed Sierra and Monie to incorporate split-screen sequences, showcasing different angles of specific events. What you don't get is the perspective of anyone who wasn't there. There are no reflections from politicians or representatives of Police Scotland, and certainly no input from the Home Office in London, who infamously labeled the protesters a "mob."
Everyone interviewed in the film is either a resident of Kenmure Street or was present at the protest. While many of the interviewees are not identified by name until the end credits, human rights lawyer and political activist Aamer Anwar, who negotiated the release of the detainees, is prominently featured. Other speakers are identified through contextual exposition. Roza Salih, a member of the "Glasgow Girls" who campaigned against dawn raids in 2005, also shares her experiences.
It's worth noting that not everyone who appears on camera was physically present at the protest. For various reasons, some protesters preferred to remain anonymous. Their stories are shared through actors in staged reconstructions, allowing their voices to be heard while protecting their identities.
Despite the seriousness of the subject matter, "Everybody to Kenmure Street" is infused with humor, much of it the sardonic wit characteristic of Glaswegians. Emma Thompson, who also served as an executive producer, adds levity by portraying the "van man" in humorous reenactments. Another unintentionally funny recurring image is a poster for the Michael B. Jordan movie "Without Remorse" on the bus stop that became a hub for snacks and drinks for the protesters.
By focusing solely on the perspectives of the participants, the film avoids the trap of "both sides-ing" the issue. However, Sierra wisely avoids presenting a purely utopian view of the events. The Black Lives Matter protest glimpsed in the opening montage includes a sign that reads "Slavery Built Glasgow," and the film delves into the history of Pollokshields' development, revealing its connections to a family who made their fortune through sugar plantations and enslaved people. References are also made to past far-right demonstrations in the area.
The inclusion of this historical context isn't intended to diminish the significance of the events on Kenmure Street or the ongoing activism in the city. Instead, it serves as a reminder that Glasgow's modern "anti-racist" branding stands in stark contrast to its history of racist violence and exploitation. This serves as a crucial reminder that, regardless of where we live, we must always acknowledge the past if we hope to build a better future.
"Everybody to Kenmure Street" premiered at the 2023 Sundance Film Festival and is currently seeking U.S. distribution.
What are your thoughts on the film's message? Do you believe that collective action can truly make a difference in the face of injustice? Share your opinions in the comments below.
