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---
description: In the first installment of Steve McQueen&#x27;s anthology, a group of West Indian immigrants protest racist police in order to protect their right to live, work and find joy in Great Britain.
title: In Steve McQueen&#x27;s Small Axe: Mangrove, West Indian Immigrants Fight for Their Place in Great Britain
image: https://static.time.com/v3/assets/bltea6093859af6183b/blt08af780469353e33/698a148697cdff773e6bb645/mangrove-protest.jpeg?branch=production&amp;width=1440&amp;quality=75&amp;auto=webp&amp;crop=16:9
---

![](https://static.time.com/v3/assets/bltea6093859af6183b/blt08af780469353e33/698a148697cdff773e6bb645/mangrove-protest.jpeg?branch=production&width=1440&quality=75&auto=webp&crop=16:9)

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# In Steve McQueen's Personal _Small Axe: Mangrove_, West Indian Immigrants Fight for Their Place in Great Britain


![Stephanie Zacharek](https://static.time.com/v3/assets/bltea6093859af6183b/blt763428300631b9e9/6989408f86f68e79976eadf6/s_zacherek.jpg?branch=production&width=3840&quality=75&auto=webp&crop=1:1)

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[Stephanie Zacharek](/author/stephanie-zacharek/)


![Stephanie Zacharek](https://static.time.com/v3/assets/bltea6093859af6183b/blt763428300631b9e9/6989408f86f68e79976eadf6/s_zacherek.jpg?branch=production&width=96&quality=75&auto=webp)

## Stephanie Zacharek


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Film Critic

Nov 20, 2020 12:00 PM CUT

![Mangrove](https://static.time.com/v3/assets/bltea6093859af6183b/blt08af780469353e33/698a148697cdff773e6bb645/mangrove-protest.jpeg?branch=production&width=3840&quality=75&auto=webp&crop=3:2)

Shaun Parkes as Frank Crichlow, Letitia Wright as Altheia Jones-LeCointe and Nathaniel Martello-White as Rhodan Gordan in "Mangrove."

Shaun Parkes as Frank Crichlow, Letitia Wright as Altheia Jones-LeCointe and Nathaniel Martello-White as Rhodan Gordan in "Mangrove."Des Willie / Amazon Prime Video

![Stephanie Zacharek](https://static.time.com/v3/assets/bltea6093859af6183b/blt763428300631b9e9/6989408f86f68e79976eadf6/s_zacherek.jpg?branch=production&width=3840&quality=75&auto=webp&crop=1:1)

by 

[Stephanie Zacharek](/author/stephanie-zacharek/)


![Stephanie Zacharek](https://static.time.com/v3/assets/bltea6093859af6183b/blt763428300631b9e9/6989408f86f68e79976eadf6/s_zacherek.jpg?branch=production&width=96&quality=75&auto=webp)

## Stephanie Zacharek


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Nov 20, 2020 12:00 PM CUT

You would think, as time marches forward, that human civilization would become smarter, more compassionate, more open to understanding life the way others live it. But increasingly, it seems that we can barely see beyond the limits of our own experience. Feelings—our own, that is—have become king. Our personal world is the only one that matters.

That’s the environment into which _Mangrove_—the first of a five-film anthology by visual artist and filmmaker [Steve McQueen](https://time.com/75524/steve-mcqueen-time-100/ "undefined"), called _Small Axe_—is catapulting. The films of _Small Axe_ (which will stream on Amazon Prime through November and December) are stories about the lives of Black people in Britain from the late 1960s to the mid-1980s, specifically those known as the “Windrush generation,” a group of immigrants, largely from the Caribbean, who were invited by the British government to help jump-start the country’s economy after World War II. (The _Empire Windrush_ was one of the first ships to bring these individuals from the West Indies to Great Britain in the late 1940s.) The stories McQueen is telling are ones that most white people in the United States—maybe most white people anywhere—have never heard. They’re fresh territory, and white viewers’ openness to them may be a kind of test. _Mangrove,_ based on a true story, is a courtroom drama. But more broadly, it’s a story about fighting for your right to build a livelihood, to gather with friends, to live joyously. The harder you have to fight for those privileges—which, in a just world, wouldn’t be privileges at all—the more valuable they become.

![Shaun Parkes as Frank Crichlow in "Mangrove." ](https://static.time.com/v3/assets/bltea6093859af6183b/blt9854a3f2e68aebeb/698a148622fb8563b8e2ba86/mangrove-critchlow.jpeg?branch=production&width=1440&quality=75&auto=webp)

Shaun Parkes as Frank Crichlow in "Mangrove." Des Willie / Amazon Prime Vide

It’s 1968 and Frank Crichlow (Shaun Parkes) has just opened the Mangrove, a small restaurant in Notting Hill, a neighborhood with a large Caribbean population. Before long, the place is bustling. Cozy and inviting and dedicated to serving food that’s the exact opposite of the traditional bland English specialties, it’s a spot where locals can gather, and intellectuals and activists, including members of the British [Black Panther movement](https://time.com/5527603/don-cox-black-panther-party/ "undefined"), are drawn to it. But an overtly [racist police](https://time.com/5883537/kenosha-wisconsin-jacob-blake/ "undefined") constable named Pulley (Sam Spruell), has Crichlow and his restaurant in his sights. He and his cohorts raid the place repeatedly and destructively, for no good reason. (Their excuse is that Crichlow formerly ran a gambling establishment.) Customers become fearful and stop coming to the Mangrove; Crichlow thinks he might have to shut down. But a few of his regulars, among them Black Panther organizer Altheia Jones (Letitia Wright, who played Shuri in [_Black Panther_](https://time.com/black-panther/ "undefined")) and activists Darcus Howe and Barbara Beese (Malachi Kirby and Rochenda Sandall) come to him with a plan: he and the community should protest the police bullying and violence—which goes far beyond the raids on the Mangrove—by holding a protest. The resulting demonstration is boisterous but peaceful, until Pulley crashes in with his men and begins making arrests, charging the group with inciting a riot.

The 1970 trial of Crichlow, the organizers and some of the participants, collectively known as the Mangrove Nine, is the chief focus of _Mangrove._ And much like another recent ensemble courtroom drama, Aaron Sorkin’s [_The Trial of the Chicago 7_](https://time.com/5892989/the-trial-of-the-chicago-7-review-netflix/ "undefined")_,_ it pits a group of passionate, [justice-seeking individuals](https://time.com/5900527/trial-of-the-chicago-7-true-story/ "undefined") against a stodgy white power structure. The difference is that the position of Crichlow and his cohorts—people who are just trying to live peacefully in their own community—is more purely a stance against outright racism, and McQueen’s dramatization of their fight works like gangbusters. That’s partly because he sets up Crichlow’s predicament so clearly: the Mangrove, as he and cinematographer Shabier Kirchner show it to us in the movie’s early scenes, is a vibrant joint with brightly painted walls, radiating laughter and warmth—you look at it and wonder, who _wouldn’t_ want to have a place like that to go? And just as Crichlow has suffered his umpteenth police raid and is thinking of throwing in the towel, an elderly patron comes in and offers him a biscuit tin filled with cash she’s saved over the years, urging him to use it to keep the restaurant going. She tells him the place is “my home from home now.”


![mangrove](https://static.time.com/v3/assets/bltea6093859af6183b/blt5f0c058f5605ea30/698a1486096a94b4c26a8d6d/mangrove-court.jpeg?branch=production&width=1440&quality=75&auto=webp)

Malachi Kirby (standing) as Darcus Howe in "Mangrove." Kieron McCarron / Amazon Prime Video

That moment, in all its blazing tenderness, holds the key to the film’s power. Crichlow and his patrons have as much right to make a home, a community, in Britain as anyone. As newcomers, they’ve had no role in the nation’s storied past, but they’re the door to its future. McQueen, a meticulous craftsperson, has made some films about very serious historical subjects: [_12 Years a Slave_](https://time.com/9360/12-years-a-slave-will-be-taught-in-schools/ "undefined") is based on the true story of a free Black man who was kidnaped and sold into slavery in the 1840s; _Hunger_ details the hunger strike and death of Northern Irish activist Bobby Sands. _Mangrove,_ too, tells a sometimes harrowing real-life story. Yet it has a lightness of touch that McQueen hasn’t shown before. _Mangrove,_ as is all of _Small Axe,_ is personal for McQueen—he is of West Indian descent himself—and his affection for these characters, as well as his passion for their cause, ignites his telling of their story. Most Americans, and probably many in Great Britain, don’t know the story of the Mangrove Nine. But almost everybody can understand what it means to need a home from home, and how, when you find it, it’s worth fighting for.

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