DISPOSSESSION: THE GREAT SOCIAL HOUSING SWINDLE
“A house is a machine for living in.” This is a thoughtful and multi-faceted quote by the highly acclaimed architect, designer and urban planner Le Corbusier. It is also one of the well placed and pertinent quotes in the film ‘Dispossession – The Great Social Housing Swindle.’ Paul Sng, the director of the film and founder of the ambitious ‘Velvet Joy Productions’, points out that he believes the quote suggests that a house should be something to be used, not thought of as an investment.
Paul, a self taught filmmaker and reflective observer of our times, adds that any quote can be interpreted in many different ways, but he is particularly taken with the aforementioned Le Corbusier as a succinct, pithy aphorism for the current housing climate in Britain.
Even before watching the thoroughly researched, reflectively directed and well balanced film I knew there was something increasingly problematic around housing, and particularly social housing, in Britain. Paul and his team have been generous, and more than likely rather tongue-in-cheek, as referring to it as a “swindle”. To me it feels more like a crisis, and a crisis moving with building velocity towards a tragedy.
“The housing crisis we have in Britain today, I think, is more of an issue than Brexit” says Paul. “Long after we’ve left the EU and things have settled down in 20/30 years time there may well still be a housing crisis and the most vulnerable people in society may be unable to find stable and secure accommodation”. This is echoed by the alarming rising rates of homelessness, excruciating waiting lists for social housing and the ever decreasing opportunities for first time buyers. The great social housing swindle does not only affect those who live in or need social housing, it affects us all, and considerably so. The lack of replenishment of social housing after the popular but controversial ‘right to buy’ policy, potential mismanagement of properties and estates by local authorities, and frequent cuts from central government, have combined to form a perfect storm of incredibly complex problems that deepen and magnify the crisis. Throw into the mix the ongoing demolition of social housing estates, the negative perception of social housing in the public sphere and the very British desire to own your own bricks and mortar and we can see the direction in which things seem to be sliding. All of these topics are discussed intelligently in the film, which Paul hopes will gain momentum.
Another important legacy role that the film has played has been as a vehicle to reach individuals and companies within the housing industry. It has clearly and compassionately brought issues to their attention and held a mirror to their culpability. “Filmmakers don’t fix problems” reflects Paul, “our job as filmmakers is to shine a light on something, and then not necessarily walk away and stand back, but to put it out there and be involved in facilitating conversations”.
‘Dispossession’ is a tour de force of documentary. It is stylish, intelligent and highly observant. It includes erudite and heartfelt testimonies by the people who’s lived experience is the basis of the film, cutting through the smoke and mirrors of the misrepresentation of the disenfranchised working classes and gives a much needed platform to individuals and communities to tell their own stories in their own words. ‘Dispossession’ not only highlights the social housing crisis, but acts as a much needed invitation for British society to come together and consider and discuss what kind of a country we all want to share.
Words: Laura Dicken
Photography: Rob Clayton
