5/5
Steve McQueen’s Alex Wheatle, the fourth film in the Small Axe anthology series, is another stellar entry exploring the Black West Indian community in London and the ways that connection, community, and activism are intertwined in the struggle against oppression. The previous installment’s ending notes of quiet resignation over a broken system lead perfectly here into the title character’s feelings of helplessness over being trapped within that same system at the beginning of this film. The film’s exploration of the ways in which the dominant, white power structures attempts to cut young Black children off from their roots and culture is gut-wrenching. But as in all of the Small Axe films, McQueen doesn’t leave us in the sorrow and the pain. Once Alex moves into a predominantly Black neighborhood, the joy that erupts on his face is lovely. Growing up as a ward of the state, we’re shown the ways that he doesn’t quite fit in with the members of the West Indian community he’s moved into, and yet he’ll never be accepted by the dominant white culture that raised and abused him as a child. And so the tension within the film arise from his need to carve his own path. As with so many of the films in this anthology, music plays an integral role in creating the mood and the atmosphere, but also in telling the story – it’s Alex’s point of connection and entry-point to the community. Just as powerful are the visual touches McQueen peppers throughout – the low angle, slow push in on Alex at multiple points throughout his life as he is restrained by social workers, police officers, and other agents of the racist power structure. Most powerful is the photo montage of protests that comes midway through the film, accompanied by a spoken word poem that reflects Alex’s dawning political awareness. And like all of the films in the Small Axe anthology, this is a film about the need for connection and community, offering the first possibility for escape from this broken system that we’ve seen.
