‘Youth (Homecoming)’ Review: Documentarian Wang Bing Concludes His Chinese Garment Workers Trilogy in Compelling Fashion

As a seasoned documentarian and a connoisseur of slow cinema, I must say Wang Bing’s “Youth (Homecoming)” is a mesmerizing addition to his trilogy about garment workers. It’s like a breath of fresh air after being trapped in the cluttered workshops of Zhili for so long.

Documentary filmmaker Wang Bing (known for “West of the Tracks”), finishes his trilogy on garment workers titled “Youth” with a final installment called “Youth (Homecoming)”. This concluding piece shares similarities with its predecessors, being both incredibly engaging and surprisingly sleep-inducing at the same time. In this final chapter, Wang spends less time in the Eastern industrial region of Zhili, Zhejiang Province, China, where many of his subjects from “Youth (Spring)” spend most of their year working long hours in the garment factories.

Rather than what the title implies, the film named “Homecoming” debuted at Venice, focuses on various employees returning home for the New Year. Their destinations range from distant Yunnan to Anhui, a province adjacent to Zhejiang. For viewers who have been following the series since its start, the breathtaking mountain vistas and expansive landscapes might serve as a welcome relief after countless hours of observing garment production in cramped, disorganized workshops.

The trilogy was filmed over a span of five years, from 2014 to March 2019. One might assume that the story would unfold in a straightforward chronological manner. However, director Wang chooses not to follow this path and instead jumps between different time periods. For instance, at one point we see Shi Wei in 2016, piecing together a puzzle while lying among stacks of cut pieces to take a phone call. Then, all of a sudden, we find ourselves years later, watching him carry his wife, Liang Tien Liang, on his back down a winding mountain path for their wedding ceremony. Villagers from both sides accompany them, laughing and teasing the couple as they go. Interestingly, the couple are scarcely recognizable in their formal wedding attire, usually dressed casually in everyday clothes.

The attire of those we follow here subtly reveals much about them, a fact that might not come as a shock since they spend approximately 15 to 18 hours daily producing the garments, primarily children’s clothing for the Chinese domestic market. It’s worth noting that past films have hinted at these young individuals often leaving their rural homes in their teens to journey to Zhili in pursuit of earnings sufficient to sustain their families back home.

Despite primarily using their earnings to support their families, their more extravagant wardrobes (frequently adorned with expensive designer brands) make them stand out among their simpler attire when they return to their rural communities. A young woman trudges through the mud for the final few kilometers on foot before reaching home, dressed in a stylish jacket with lilac fur trim. However, once everyone is back home, it seems as if all they have to discuss are problems – stories about village disputes over stolen property, crushing debts, and declining health. These tales of hardship and guilt trips aimed at those who’ve left the village are a common refrain for anyone familiar with such situations.

However, it’s important to note that life in Zhili isn’t just about gold-paved streets and endless amusement. While there were instances of youthful exuberance depicted in “Spring”, the reality became harsher in the sequel, “Hard Times”. Here, we witness the struggles of newcomers in Zhili as they search for work and a place to stay, often moving from one anonymous workshop to another. Some are fortunate enough to secure their own room instead of sharing with multiple others. Wang and his crew follow these individuals persistently, capturing their journey on foot through Zhili, up mountainsides, or across the fields of Anhui where they celebrate local traditions and light fireworks. This cinema is quite literal in its depiction of walking.

In a captivating manner, Wang’s filmmaking style maintains a continuous flow, almost hypnotically drawing viewers in. His keen eye for character is evident throughout, whether he’s filming subjects as they sleep on a train, work meticulously on their craft, or prepare meals. The prolonged and thoughtful shots keep us engaged, but the lack of variation can become tiresome at times. It’s regrettable that Wang ceased filming in 2019, just prior to the COVID-19 pandemic, which drastically altered the industry and forced many of the individuals we encounter in his trilogy to return home to their families. Undoubtedly, this could have provided a rich backdrop for documentary dramas.

2024-09-10 21:54

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