Other leadership members are present throughout Union, but there is a specificity in where the camera is allowed. The film often presents the mosaic-tile wallpaper of Zoom meetings that became a trademark of the pandemic era, and vital to the creation of the ALU. This presentation fragments the space each person is allowed in the frame and equalizes its weight. That is, until we cut to Smalls in his home environment, complete with computer stand made in part from a Monopoly board game box. Whether or not the suitability of that specific game for a documentary dealing with labor and business is a coincidence or an intention, it highlights the presence of an environment independent from the ‘battleground’ that the ALU is dealing with. Apart from the regular visits to Smalls’ home, we are granted access only twice to the private lives of Union’s subjects: a scene showing Natalie Monarrez as living out of her car, and Jason Anthony in his home detailing a public transit map.
The access to Chris Smalls’ private and public life creates the dynamic where the story is subtly framed by his perspective. Story and Maing opt for a primarily observational mode of documentary, without any visible or audible input from the filmmakers. Events that the camera is unable to photograph are sometimes discussed by the characters after the fact. Specifically in a scene following the meeting with an unnamed national union, the ALU leadership vent their frustrations and disappointments with the event. Exchanges that serve as informative for the viewers always play out as a discussion between at least two characters. Within this mode, the filmmakers can neither directly support nor refute the words and actions of the characters. The onus falls on the viewer to “make inferences and come to conclusions on the basis of behavior we observe or overhear.” With the access afforded to Chris Smalls, there is enough material available for audiences to reach a conclusion on him as an individual; independent of the thoughts on ALU as a collective.
In the back half of Union, more scenes portray the tensions that arise during ALU meetings and discussions between the members. These scenes play out in a purely observational framework, without any of the self-consciousness present in the awereness of being in front of a camera. As the divisions in the originally unified group become more clear, the filmmaking becomes less established in its locus. The characters whose private lives we have access to begin to have doubts with the movement. Especially Monarrez, who fell out with the ALU but still remains present throughout the documentary, highlights the problems she has with the leadership and direction of the organization. She details these problems in a conversation with Madeline Wesley, also a leadership member of ALU who is featured prominently in the film. The conversation is a private one, and despite not falling directly under activities of union work it is included in the documentary as an extension of the access granted to Monarrez’s private life. This perspective serves as a counterpoint to that of Smalls, and from a character who is present with a similar level of access throughout the documentary.
Following the election victory of the ALU, there is a shift in focus towards what comes next for the organization. The uncertainties in answering that question are addressed in the conclusion of the picture. Subsequent elections in other locations didn’t follow the JFK8 example, and Amazon has been using lawyers to challenge the legitimacy of the union and avoid negotiations. Chris Smalls eventually stepped down as president, and Connor Spence was elected. Spence is present throughout Union, appearing alongside Smalls in his first scene, although not given the same attention or privilege. As Union reaches its conclusion, more attention is afforded to Wesley and Spence, especially during scenes where conflicts arise in the leadership structure. This attention perhaps alludes to the direction the ALU would take following the picture, but these events are never explicitly presented. The documentary ends at a point where it can recognize the historic victory that the ALU achieved, but doesn’t avoid the questions that the organization will continue to face.
Although Union firmly positions Chris Smalls at the center of its story as the face of ALU, allowances within the observational documentary mode are made to give voice to different perspectives. This technique allows the audience multiple viewpoints and more information to draw their conclusions, reaffirming the purpose of the mode and presenting a more comprehensive organizational portrait. As the main narrative of the ALU’s fight for legitimacy plays out, the filmmakers are also concerned with the structure and workings of the organization, and the opinions of those members on how the fight should continue. In this way, Union acknowledges the hard-fought victories while simultaneously projecting towards the uncertain future.
References
Nichols, Bill. Introduction to Documentary. Indiana University Press, 2001.
Hadero, Haleluya. “Labor leader behind Amazon’s only unionized U.S. warehouse is out at the union he helped launch.” Fortune.com, July 30th, 2024, https://fortune.com/2024/07/30/amazon-labor-union-chris-smalls-labor-vote/
Kebreau, Kei. “Amazon Teamsters push for contract on Staten Island, New York.” Peoplesworld.org, January 9th, 2025, https://www.peoplesworld.org/article/amazon-teamsters-push-for-contract-on-staten-island-new-york/
The article was created as part of the UniVerzió program, in collaboration between the Verzió Film Festival and the Department of Film Studies at Eötvös Loránd University. Instructor: Beja Margitházi.