{"id":32513,"date":"2026-03-18T14:00:27","date_gmt":"2026-03-18T14:00:27","guid":{"rendered":"https:\/\/research.reading.ac.uk\/research-blog\/?p=32513"},"modified":"2026-03-17T10:00:37","modified_gmt":"2026-03-17T10:00:37","slug":"everybody-to-kenmure-street-how-a-feisty-glasgow-neighbourhood-beat-a-secret-immigration-raid","status":"publish","type":"post","link":"https:\/\/research.reading.ac.uk\/research-blog\/2026\/03\/18\/everybody-to-kenmure-street-how-a-feisty-glasgow-neighbourhood-beat-a-secret-immigration-raid\/","title":{"rendered":"Everybody to Kenmure Street: how a feisty Glasgow neighbourhood beat a \u2018secret\u2019 immigration raid"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

The kind of protests that loom large in the collective imagination tend to be compact and dramatic. Everybody to Kenmure Street, Felipe Bustos Sierra\u2019s energising and inspiring film about a spontaneous act of collective civil disobedience in Glasgow, documents just such an event.<\/p>\n

At a time when mobile phone footage shared by citizen activists<\/a> is proving increasingly vital in holding authority to account, it also feels extraordinarily prescient. Most obviously in the US, where the film recently won the world cinema documentary special jury award for civil resistance at the Sundance Film Festival.<\/p>\n

Bustos Sierra\u2019s<\/a> debut was the 2018 documentary<\/a> Nae Pasaran<\/a>, about a group of Scottish Rolls-Royce workers who, in 1974, refused to repair jet engines for the Chilean air force in protest against the violent Pinochet regime<\/a>. It won a Bafta for best feature film. Unsurprisingly, Bustos Sierra handles his material with confidence.<\/p>\n

Everybody to Kenmure Street<\/a> begins with a black and white montage. Children play in the back courts of tenement slums. Suffragettes demand the right to vote. The intense heat of the Glasgow\u2019s blast furnaces sends sparks flying. Crowds march against the installation of a nuclear deterrent on the Clyde. Riveters raise their hammers in synchronised rhythm in the city\u2019s famous ship yards. Glasgow\u2019s industrial heritage and its proud history of protest are established as the film\u2019s backdrop.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_video link=”https:\/\/www.youtube.com\/watch?v=JOY5T03hHbk”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

As the film moves from black and white to colour, we find ourselves on a tenement-lined street in the Pollokshields area of the city. It is early morning on May 13 2021. An immigration enforcement vehicle has just pulled up on Kenmure Street, and two Indian men have been arrested for possible infringements.<\/p>\n

Priti Patel, the UK home secretary, had been aggressively doubling down on the hostile environment<\/a> promoted by her predecessor Theresa May. The dawn raid had been approved without the knowledge of the Scottish government in Holyrood because immigration legislation and policy are reserved to Westminster. Among other things, then, Everybody to Kenmure Street exposes some of the tensions in the devolution settlement.<\/p>\n

This intrusion into one of Scotland\u2019s most ethnically diverse areas, with a large Muslim population, on what also happened to be Eid al-Fitr<\/a> \u2013 the feast day that celebrates the end of Ramadan \u2013 was understandably experienced by many as a deliberate provocation.<\/p>\n

As Bustos Sierra\u2019s evocative film documents, it quickly becomes the trigger for an extraordinary act of communal resistance. A kind of social media-enabled mass sit down, it results in an eight-hour stand-off with immigration officials and the police, and the eventual release, without charge, of the two men.<\/p>\n

Making extensive use of donated mobile phone footage, Bustos Sierra documents the heartwarming combination of improvised tactics and community-based solidarity that won the day from the level of the street itself.<\/p>\n

As the day progressed, the number of protestors grew from a handful to dozens, to hundreds and eventually a couple of thousand. Word spread and a number of well-known figures arrived on the scene, perhaps most significantly, the activist and human rights lawyer Aamer Anwar<\/a> who eventually negotiated the men\u2019s release.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_video link=”https:\/\/www.youtube.com\/watch?v=bT9LX224R_Y”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

The power of ordinary people<\/h2>\n

At its most affecting though, Everybody to Kenmure Street is a film about the decency and moral courage of ordinary Glaswegians. Having looked out of their windows and spotted the immigration van, a small number of residents decided to act.<\/p>\n

They came out into the street, challenged the officials present, created an obstruction by sitting down, and began texting and posting on social media. Crucially, just after 9am an activist, known only as \u201cVan Man\u201d, crawled under the police vehicle and attached himself to the axle preventing the immigration officers from driving away.<\/p>\n

His timely action allowed others to gather, and he was described by many as the hero of the day. Because he wishes to remain anonymous, his words are spoken, here, by the film\u2019s executive producer, the actor and activist Emma Thompson, who looks directly to the camera while adopting a position that echoes the cramped conditions Van Man endured for eight hours.<\/p>\n

The Scottish actor Kate Dickie similarly gives voice to the off-duty NHS worker who tended him for most of the day. \u201cThe fact that I\u2019m a nurse,\u201d she explains, \u201cgives me a level of protection that other people wouldn\u2019t experience\u201d. It\u2019s difficult to hear her words without thinking of Alex Pretti, the 37-year-old intensive care nurse shot and killed by an ICE agent<\/a> in Minneapolis, in January of this year.<\/p>\n

The absolute horror of events in that city make the d\u00e9nouement of Bustos Sierra\u2019s film all the more remarkable. Police Scotland, who by the end of the day were in attendance in high numbers, simply agreed to let the men go in order to avert any kind of violent confrontation.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_video][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]If all this sounds wildly utopian, Bustos Sierra is careful not to allow his adopted home town to become too pleased with itself. Picking up on some of the threads laid down in the opening montage, he uses the middle section to stress Glasgow\u2019s mixed legacies.<\/p>\n

While the city\u2019s radical tradition is certainly honoured, from its early opposition to apartheid<\/a> to its proud history of trades unionism<\/a>, the film also stresses that its mercantile and industrial wealth, like that of Bristol, Liverpool and London, was built on the labour of enslaved people<\/a>.<\/p>\n

In this way a connection is made between the brown men held in the van, who are victims of an aggressive immigration policy, and the historical victims of colonialism who were also predominantly people of colour.<\/p>\n

Given that our news feeds are currently full of images reinforcing the reality that black and brown lives are less grievable than white ones, this connection seems an especially vital one to make. An important film, everybody should see Everybody to Kenmure Street.<\/p>\n

\"The<\/p>\n

\n

Trish Reid<\/a>, Professor of Theatre and Performance, University of Reading<\/a><\/em><\/p>\n

This article is republished from The Conversation<\/a> under a Creative Commons license. Read the original article<\/a>.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

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