‘Youth (Hard Times)’ Review: Wang Bing’s Labor Documentary Sequel Disorients With A Purpose

As someone who has spent years immersed in the gritty realities of labor documentaries, Wang Bing’s “Youth (Hard Times)” resonated deeply with me. Having watched his previous works, I was struck by the subtle yet profound evolution in his storytelling approach. The film is a poignant testament to the relentless march of time and the human spirit that refuses to break under its weight.

In what appears to be the continuation of Wang Bing’s textile documentary series, his film “Youth (Hard Times)” offers an unexpected perspective on the passage of time. The storyline, which focuses on the escalating discontent among young workers in Zhili, a district within Huzhou City, is subtly yet accurately constructed. It follows diverse human subjects whose lives seldom intersect, but who share similar circumstances. Clocking in at almost four hours, it surpasses its colossal predecessor “Youth (Spring),” while also leveraging that film as a foundation for further investigation.

For me, delving into the world of garment labor following China’s textile expansion has been a consistent interest, a theme that I have explored extensively in my work. My 2016 documentary “Bitter Money” focused on the struggles of migrant workers, while my museum installation “15 Hours” immersed viewers in a single, extended take within a clothing factory. “Youth (Spring)” marked the beginning of my new trilogy and shared similarities with the latter in terms of style and content, aiming to make audiences feel the elongated passage of time. My latest work, “Youth (Hard Times),” premiered at Locarno Film Festival, feels more focused and intentional, not just in its broader scope but also in its innovative techniques.

Both movies, along with Wang’s upcoming third installment, “Youth (Homecoming)”, filmed from countless hours of footage collected over the years, will premiere at Venice next month. From 2014 to 2019, Wang filmed these movies while living among the workers in their dilapidated dormitories situated on Happiness Road, ironically named as it houses more than 18,000 privately-owned factories. Although governed by a party with “Communist” in its title, China operates under a capitalist system. Initially, the visual and auditory style of the sequel seems familiar, with subtle medium shots capturing Chinese youth laboring on noisy sewing machines, their repetitive clatter forming a monotonous hum. Over time, you grow accustomed to the overwhelming background noise.

In contrast to the initial film that portrayed time as an expansive, deliberate journey, “Youth (Hard Times)” employs unexpected camera angles to suggest the passage of time and deteriorating conditions. The factory floors appear chaotic and cluttered compared to those in the first film, signaling a change in environment but also hinting at the elapsed time. This subtle manipulation of space serves as a reminder to viewers watching both films consecutively that things are no longer stable. The sequel’s use of fluorescent lights and winding, shadowy corridors within factory buildings creates a disorienting effect for viewers. What may appear as daytime in one scene is quickly revealed to be night, and vice versa, with characters moving between rooms and balconies. This narrative technique strips time of its significance when one’s life is dominated by a single, monotonous task.

The majority of workers introduced in the film (via on-screen text) are young adults, primarily from Anhui province. This repeated mention throughout the lengthy movie piques curiosity. This subtle touch serves as an intriguing mystery within the film, one that requires careful and deliberate development. Throughout the narrative, Wang skillfully portrays the camaraderie and interpersonal conflicts that make the climax worth the build-up.

Once more, Wang avoids dwelling excessively on any single character, instead weaving his broader storyline using symbolic contradictions. He portrays men laboring in the oppressive summer heat on winter coats they can’t possibly afford, or romantic partners unable to develop their emotional and physical connections due to time constraints, as they create lingerie without crotches.

A few elderly workers add depth to the current narrative. One woman even brings her young child along to assist. Another lady accompanies her mother. An odd scene featuring a middle-aged relative with cotton balls in her nostrils (presumably due to the smell of sweat or mess; it could be like embalming bodies, as seen in many countries, such as China) raises questions about the situation. Taken together, these images carry significant emotional impact. They seem to question: Is this the entirety of life for China’s poor, from birth to death and even beyond?

In due course, disagreements about payment crop up between the workers and their supervisors, marking a new development in Wang’s trilogy as the sewing machines grind to a halt. The silence that follows is unsettling, as if a crucial scene has been omitted from the movie. It’s disheartening to think about, but it seems that working under capitalist oppression has become so routine for these individuals that their daily struggle has become an integral part of who they are, consuming their very essence. “Youth (Hard Times)” addresses this predicament by focusing on internal conflicts, collective negotiations, and the harsh repercussions of such actions. The narrative unfolds as China’s migrant youth strive to escape the restrictive factory environment, where excessive hours, meager wages, and a loss of connection with the world outside are coupled with the erosion of one’s humanity.

2024-08-15 17:16

‘Youth (Hard Times)’ Review: Wang Bing’s Labor Documentary Sequel Disorients With A Purpose

Read More

Minority Mindset