Union
Brett Story and Stephen Maing’s documentary reveals the inside story of how unionization won out in Amazon’s Staten Island warehouse.
Image courtesy of Level Ground Productions.
This impressive documentary has two directors, Brett Story and Stephen Maing, but, although both of them have individually made other feature films in this genre and short films too, this is the first time that I have come across their work and it would appear to be their first collaboration. The theme of the film is the endeavour in 2021 to set up an Amazon labour union. ALU as it became known is a worker-led coalition which came into operation in April 2022. It arose in the warehouse in Staten Island where Amazon employs more than eight thousand workers in what is known as Amazon JFK8. One of its founders was Chris Smalls a former employee there who had been dismissed on grounds which he challenged, this having happened immediately after he had protested about inadequate provision of personal protective equipment (PPE). In seeking subsequently to establish ALU Smalls had in mind not only failings in JFK8 relating to Covid but also such matters as the pay, the excessive working hours and the unduly short lunch break as well as wider concerns including the difficulties encountered by black workers when it came to promotion.
Union explains the steps that had to be taken by law for ALU to be recognised including initial approval for its creation by 30% of the workers and once that had been obtained a vote for it by a majority of employees. The film also shows the hostility of Amazon as illustrated by their compulsory captive audience meetings featuring videos advising their workforce not to support the proposal. Getting support from the National Labor Relations Board would be a further concern and throughout its length the film records events from the viewpoint of Chris Smalls and his colleagues and supporters. At no point does Union become a documentary featuring interviews and when it comes to Amazon’s continuing challenge to the validity of ALU their refusal to accept the complaints about them set out in this film are simply confirmed by written statements at its close.
The clear sense that the filmmakers are on the side of the workers might have caused Union to become a film that could have emerged as unduly propagandist in its positivity. But there is a clear honesty in the approach here since, although the events depicted would lead to the successful outcome in the spring of 2022, the film also shows the tensions and disputes that arise among those wanting action be taken. Early on, for example, there are conflicting views over whether or not it would actually be helpful for the cause were Chris Smalls to pitch a tent and get arrested (later there are arrests when the police take away supporters of ALU including workers as well as those who claim to be visitors as justification for being on land at JFK8). Furthermore, while Chris Smalls can often be regarded as the hero of the film there are also scenes in which his self-importance as the leader is questioned and we see supporters who feel that their own views and problems are not being sufficiently considered. Indeed, if a white supporter and college graduate, Madeline Wesley, is seen showing strong loyalty, a Latina named Natalie Monarrez who has been reduced to living in a car starts to question if unionization would not be more appropriate through a national body. It's also the case that, even if what is achieved at JFK8 suggests cause for optimism, Union goes on to refer not only to Amazon appealing the outcome but mentions failures elsewhere where workers have not offered sufficient support (even at JFK8 the subject of the union dues that workers would have to pay has discouraged some).
There is no doubt that anyone with a strong interest in unionization will find this a very worthwhile film. But, even if some viewers might feel that the subject matter does not necessarily call for a full-length feature, it needs to be stressed that the quality of the filmmaking here is exceptionally fine. While Story and Maing share the directorial credit, it is to be noted that Maing is also involved in the photography and editing both of which are notable. Many documentaries, however distinguished, are works that would suit television just as well as cinema. But here the excellent photography is linked to images that show a distinctive visual flair. Furthermore, in the absence of any commentary the editing plays a key part in creating a natural sense of flow that turns this documentary chronicle into storytelling of real distinction. The quality of the filmmaking is such that Story and Maing are names to be noted.
MANSEL STIMPSON
Featuring Chris Smalls, Madeleine Wesley, Natalie Monarrez, Jason Anthony, Connor Spence, Angelina Maldonado, Derrick Palmer, Justine Medina, Brima Sylla, Cassio Mendez, Aaron Novik, Jordan Flowers.
Dir Brett Story and Stephen Maing, Pro Samantha Curley, Mars Verrone and Martin DiCicco, Ph Stephen Maing and Martin DiCicco, Ed Stephen Maing, Blair McClendon and Malika Zouhali-Worrall, Music Robert Wiki and Aubrey Lowe.
Impact Partners/Level Ground Productions/Just Films/Ford Foundation-Level Ground Productions.
104 mins. USA. 2024. US Rel: 18 October 2024. UK Rel: 14 November 2024. No Cert.
