Film restoration highlights Britain’s historical struggle with homelessness and migration

Actor Jonathan Pryce advocates for the power of drama and film to deepen public understanding of refugees’ experiences in the UK, signalling a potential shift in tackling anti-migrant sentiment through cultural storytelling.

A powerful drama addressing the experiences of refugees in Britain could play a crucial role in easing the rising tide of anti-migrant sentiment across the UK, according to the acclaimed actor Jonathan Pryce. Speaking ahead of a special screening at the London Film Festival, Pryce emphasised that drama, through its emotional depth and storytelling, has the potential to “open up” public understanding of the complex realities faced by migrants.

Highlighting widespread public ignorance, Pryce noted that many in the UK remain unaware of day-to-day life for refugees housed in migrant hotels, a situation that fosters fear and resentment rooted more in misconception than fact. “People aren’t aware of the facts concerning the homeless, concerning immigrants, legal or otherwise. And so this sort of fear and anger builds up about something they don’t really know anything about,” he told The Guardian.

Pryce draws on his experience starring in the 1987 drama Hotel London, a film which tackled homelessness, racism, and immigration issues during the Thatcher era—a time when the UK faced soaring house prices, rising unemployment, and a growing homelessness crisis exacerbated by policy changes such as the ban on housing benefits for 16- and 17-year-olds. The movie centres on a South Asian family evicted from their home and forced into cramped bed and breakfast accommodation, illustrating the harsh realities of housing insecurity and social marginalisation in London at the time. Pryce himself played an Irish homeless man who befriends the family, helping to reveal an often unseen world of hardship and resilience.

Hotel London was shot on a modest budget and emerged from the vibrant workshop movement supported by Channel 4, which nurtured independent filmmakers from diverse communities across Britain. Alongside collectives like the Black Audio Film Collective and Sankofa, the workshop initiative provided a platform for voices from the margins, fostering talents such as John Akomfrah and Isaac Julien, who later gained international recognition. These workshops catalysed a cultural shift in British cinema by democratizing filmmaking and promoting social realism.

The British Film Institute (BFI) is currently restoring Hotel London as part of a broader project to preserve significant works from this era, with the restored film set to screen in October. The restoration effort seeks to shed light once again on the challenges faced by immigrants and the homeless in 1980s Britain, themes remarkably resonant with contemporary issues.

This emphasis on storytelling as a tool for social empathy aligns with other British films exploring migrant experiences. For instance, Stephen Frears’s 2002 film Dirty Pretty Things exposed the exploitation faced by illegal immigrants in London, revealing the precariousness of undocumented life within a hidden urban underworld. By bringing such stories to mainstream audiences, films challenge misconceptions and humanize those often marginalised or vilified in public discourse.

Pryce’s advocacy for drama stems from a belief that narratives enable audiences to connect emotionally with complex social issues. He argued that while public debates and media coverage focus on protests and policy, there is a lack of insight into the conditions inside migrant hotels and hostels—the lived experiences that need amplification. This perspective echoes how cultural works historically have opened doors to underrepresented stories, fostering deeper societal understanding and compassion.

Having portrayed multifaceted characters in politically charged settings before, such as in The Ploughman’s Lunch, which explored media manipulation in Thatcher’s Britain, Pryce brings a nuanced outlook on the power of art to shape public consciousness. His career highlights the enduring relevance of drama to engage with pressing societal issues, from political machinations to social justice.

As the UK continues to grapple with immigration and homelessness, revisiting films like Hotel London provides not only a historical lens but also a call for renewed cultural engagement. Through authentic storytelling, there lies potential to bridge divides, reduce fear, and foster a more informed and humane dialogue about refugees and migrants living in Britain today.

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Source: Noah Wire Services

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Freshness check

Score:
10

Notes:
The narrative is fresh, published on 6 October 2025, with no prior appearances found. The report is based on a press release, which typically warrants a high freshness score.

Quotes check

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Notes:
The direct quotes from Jonathan Pryce are unique to this report, with no earlier matches found. This suggests potentially original or exclusive content.

Source reliability

Score:
10

Notes:
The narrative originates from The Guardian, a reputable organisation, enhancing its reliability.

Plausability check

Score:
10

Notes:
The claims about Jonathan Pryce’s statements regarding refugee dramas and anti-migrant sentiment are plausible and align with his known advocacy for social issues. The report includes specific details, such as the screening of ‘Hotel London’ at the London Film Festival, which supports its credibility.

Overall assessment

Verdict (FAIL, OPEN, PASS): PASS

Confidence (LOW, MEDIUM, HIGH): HIGH

Summary:
The narrative is fresh, with no prior appearances found. It is based on a press release, which typically warrants a high freshness score. The direct quotes from Jonathan Pryce are unique to this report, suggesting potentially original or exclusive content. The narrative originates from The Guardian, a reputable organisation, enhancing its reliability. The claims about Jonathan Pryce’s statements regarding refugee dramas and anti-migrant sentiment are plausible and align with his known advocacy for social issues. The report includes specific details, such as the screening of ‘Hotel London’ at the London Film Festival, which supports its credibility.