Ching and Martinez waste no time establishing the stakes, presenting a harrowing portrait of a system rigged against the very people it purports to serve. Through intimate vignettes, the documentary captures the lives of tenants battling exploitative landlords and indifferent bureaucracies, underscoring how deeply personal and universal the fight for housing security truly is. The filmmakers’ choice to focus on the everyday struggles of ordinary residents lends the narrative a raw, emotional immediacy, making it impossible for viewers to look away.
A Neighborhood Under Threat
“Sunset Park is different from the rest of New York,” Samantha Bravo Huertero, one of the film’s subjects, reflects with a mix of pride and apprehension. The neighborhood hums with life, where Spanish mingles with Mandarin and Cantonese, and storefronts echo with laughter and music. “It’s home to me.” This simple declaration carries weight, framing the stakes of “Slumlord Millionaire” with personal resonance.
Yet, this vibrant community is under siege. Rent hikes sanctioned by Mayor Eric Adams’ administration loom large in the narrative, with increases for one- and two-year leases leaving millions of rent-stabilized tenants scrambling to make ends meet. These policies, framed as pragmatic economic adjustments, deepen the chasm between landlord profits and tenant survival.
The filmmakers don’t hold their punches, either, not shying away from naming names, calling out power brokers like Stephen Ross—real estate mogul and billionaire owner of Related Companies—whose luxury developments have reshaped the city’s skyline while deepening the divide between the wealthy and the working poor. By juxtaposing the unchecked influence of figures like Ross with the struggles of tenants fighting for survival, the documentary captures the cruel irony of a city built on the backs of the many but controlled by the few.
Adán Soltren, a tenant representative on the Rent Guidelines Board, articulates the core problem: “The system is flawed. The system is racist, classist.” His candid commentary encapsulates the structural inequality woven into housing policy, which exemplifies the film’s unvarnished look at the struggle to preserve dignity and stability in the face of gentrification and neglect.
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‘Slumlord Millionaire’: A Call to Action, But No Roadmap
What makes “Slumlord Millionaire” compelling is its refusal to sanitize the emotional toll of housing insecurity. The film’s subjects—immigrant families, single mothers, and elderly tenants—speak with urgency and clarity about their fears of losing not just their homes but their sense of belonging. “We need to elect politicians who care about the people,” one participant declares near the end of the film, offering a simple yet powerful plea for systemic change.
However, while the film excels in capturing the despair and determination of its subjects, it stumbles in its lack of applicable solutions. The narrative builds tension masterfully but leaves viewers dangling, with no tangible path forward. I’d like to think that this is perhaps intentional, a way to channel frustration into activism. However, the absence of clear policy alternatives or success stories feels like a missed opportunity. A sharper focus on grassroots victories or innovative tenant-led initiatives could have provided a roadmap for audiences eager to help.
This ambiguity may stem from Ching and Martinez’s desire to reflect the ongoing and unresolved nature of the crisis. In a landscape where housing justice remains elusive, “Slumlord Millionaire” eschews offering tidy conclusions. Yet, as effective as this choice may be in mirroring reality, it risks alienating viewers who might be motivated to act if offered more concrete tools or examples of change.
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A Tale of Two Films
Viewed alongside the recent Tribeca documentary film “Emergent City” from Kelly Anderson and Jay Arthur Sterrenberg, “Slumlord Millionaire” becomes even more urgent. As companion pieces, I feel they work perfectly. Both films explore the collision of urban development and cultural preservation, highlighting how immigrant communities usually bear the brunt of displacement.
Where “Emergent City” takes a measured approach, balancing perspectives from developers and residents alike, “Slumlord Millionaire” adopts a more direct, impassioned tone. It functions less as a neutral observer and more as an advocate, unafraid to place blame squarely on landlords and policymakers. This tonal difference gives each film its distinct identity while allowing them to complement one another as critical examinations of urban inequality.
Despite their differences, the two films share a fundamental truth: communities thrive not through corporate intervention but through collective resilience and grassroots advocacy. “Emergent City” provides a blueprint for preserving cultural and economic diversity amid rapid change, while “Slumlord Millionaire” focuses on the lived experiences that demand such preservation. Together, they form a vital conversation about urban identity and survival.
“With Pressure, the Government Starts Listening.”
Steph Ching and Ellen Martinez’s “Slumlord Millionaire” is a rallying cry for tenant rights and a rebuke of a system that prioritizes profit over people. It succeeds in shining a spotlight on a crisis too often ignored, making the plight of its subjects impossible to dismiss. Yet, the film’s greatest strength—its raw emotional power—is also its weakest link. By forgoing detailed solutions, it risks leaving viewers with anger but no direction. This choice may resonate with those already familiar with housing advocacy but could frustrate audiences looking for actionable insights.
Still, even with its flaws, “Slumlord Millionaire” achieves something vital: it humanizes a crisis that many experience but few understand. By amplifying the voices of those most affected, it reminds us that tenant rights are not abstract ideals but urgent necessities. For that alone, it deserves attention, conversation, and, most importantly, action.
Steph Ching and Ellen Martinez’s “Slumlord Millionaire” had its world premiere in the Metropolis Competition at this year’s DOC NYC, where it won the Audience Award. The festival ran from November 13 to December 1, 2024. Follow us for more coverage.
