Steve McQueen's Mangrove: New York Film Festival review
summons a potent sense of a community gathering that caresses and cocoons those present, shutting out the hostilities of the city outside. The second movie to premiere at the New York Film Festival from the director's, which is set a decade earlier in 1968-70, shows how another regular gathering place for the same immigrant community provides a cherished home away from home.
More specifically, McQueen's anthology of five original films set around London's West Indian community between the late 1960s and the mid '80s is about Black resilience, its title coming from the proverb immortalized in a Bob Marley lyric:"If you are the big tree, we are the small axe." The films will be rolled out by Amazon on Fridays over five weeks, starting Nov. 20 withThe words of Trinidadian socialist historian C.L.R.
Frank is vigilant about keeping his restaurant respectable, but Pulley and his cronies continue their raids, assaulting diners and staff, shouting racial slurs and causing considerable damage each time. In one expressive shot, McQueen holds steady for a daringly long time on an aluminum colander rolling on the floor of the wrecked kitchen. His repeat calls to police, council representatives and the Home Office to lodge complaints about the constant unmotivated harassment yield no response.
They band together with others including British-born Barbara Beese , Darcus' partner at the time, to organize a peaceful demonstration on Aug. 9, 1970. The 150 marchers are outnumbered two-to-one by police. Kirchner's camera muscles in close to visceral effect among the protesters chanting"Hands off the Mangrove" and the cops crowding in on them, sparking inevitable physical clashes.
The scene-setting and the vibrant sense of time and place make for an absorbing watch, with indispensable contributions from production designer Helen Scott and costumer Lisa Duncan, their work captured by Kirchner in grainy textures that evoke the era.
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