“England ’Til I Die” Documentary Exposes Ugly Truth of Anti-Immigration Anger

Crowborough, a town in East Sussex once known for its association with Winnie the Pooh and Arthur Conan Doyle, has recently gained a new, darker reputation. A new Channel 4 documentary, “England 'Til I Die,” shines a spotlight on the town's transformation into a hub of anti-immigration protests.

This comes after the government's decision to house around 500 asylum seekers in a former army barracks located there.

The one-off documentary, approximately 50 minutes long, primarily follows Liam Tomsett, a utilities manager who co-leads the local anti-immigration group, “Crowborough Says No.” Viewers witness the increasing division and conflict within the town through footage captured during protests and public confrontations. The film also features interviews with Tomsett, tracing his evolution into an increasingly prominent and radical figure within the movement. “England 'Til I Die” offers a raw and “in the moment” look at these unfolding events.

It captures distressing scenes of asylum seekers being confronted and local residents displaying what is described as tacit or open racism and Islamophobia. The documentary paints a grim picture of a segment of modern Britain, leaving viewers with a sense of despair over the current social climate.

The timing of its airing, shortly after violent clashes between far-right protesters and police in Portsmouth, further emphasizes the widespread nature of this issue. The filmmaker, Jamie Roberts, reportedly succeeds in portraying the “activists” in a negative light, depicting them as small-minded, unreasonable individuals who use concerns about women's safety as a facade for xenophobia.

Liam Tomsett struggles to articulate or justify his stances but remains unwavering. At one point, he discusses his belief in replacement theory, a white nationalist talking point, and his conviction that a secret cabal of “globalists” aims to “replace” the white population with foreigners, though he admits he doesn't know their motives.

Notably, the documentary largely avoids exploring the deeper factors driving the intensification of far-right movements, beyond a brief mention of football lad culture's crossover with anti-immigration groups.

The perspective of the asylum seekers, the “voiceless victims” of this narrative, is also largely absent.

Ultimately, the documentary is described as illuminating a problem that is already widely recognized, presenting a “disappointing portrait of malevolent idiocy and empty anger.” It offers little in the way of optimism, leaving a somber impression of a country grappling with profound social divisions.

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