The history of cinema, in many ways, began in the factory – its first frames capturing the daily lives of male and female workers as they filed out of the Lumière factory in Lyon in 1895. This simple, silent image marked the inception of the filmic medium, recording not just the physical movement of workers, but, in its own way, the birth of visual storytelling. However, this initial depiction – devoid of sound – only offered a truncated, partial view of the factory experience. The absence of sound left the bustling, noisy world of the factory largely unrepresented. The clatter of machinery, the hum of sewing machines, and the chorus of voices that permeated the workers’ environment remained unheard, and in many ways, unseen. In the years since, the visual representation of workers in film has undergone profound transformations, with one of the most significant advancements being the introduction of sound. The addition of sound – both environmental and vocal – has allowed for a deeper, more intimate portrayal of workers’ lives. No longer are these workers reduced to silent figures, their stories told only through gestures and movement; now, their voices – both literal and metaphorical – can be heard. In this sense, the factory, once a place of mute labor, has evolved into a dynamic space of narrative and auditory expression, where the hum of everyday life can be captured in its full complexity. 

In Wang Bing’s trilogy Youth: Spring (2023), Hard Times (2024) and Homecoming (2024), this evolution of the film image reaches a new height. While the Lumières’ workers were left voiceless, their modern counterparts, portrayed in Wang Bing’s stark and poignant documentary, speak with clarity and urgency. Set in the sweatshops of China’s Zhili region, Youth focuses on the lives of young male and female factory workers, offering an unflinching look at their precarious working and living conditions. Through Wang’s lens, the soundscape of the factory – machines whirring, sewing machines clattering, city traffic buzzing, and voices – becomes as vital to the story as the images themselves. In this film, the sounds of labor are not just background noise; they are an integral part of the narrative, shaping the emotional landscape of the workers’ lives. Following the first part of the Youth trilogy, Spring, which premiered at the Locarno Film Festival, Wang Bing continued his exploration of young Chinese workers’ lives in northwest China. This part provides a detailed portrayal of lower-middle-class individuals whose livelihoods rely on seasonal factory work for local proprietors of so-called “sweatshops.”

Unlike the anonymous, silent figures in the Lumière brothers’ early films, the workers in Youth: Hard Times are given a poignant and resilient voice. Their individual stories, struggles, and dreams are woven together in a series of episodic scenes, each one representing a unique, yet interconnected, part of the collective experience. As these young workers navigate the challenges of love, labor, and survival, their voices resonate – telling of first loves, fights for better wages, and the shared longing for a better life.

Their voices speak of solidarity and division, of hope and despair, as the sounds of their world – a cacophony of factory noise, human conversation, and urban life – frame their stories. In Wang Bing’s cinematic universe, time itself becomes an essential narrative tool. The film unwraps with a slow, meditative rhythm, allowing the audience to immerse themselves fully in the lives of its protagonists. This experimental narrative structure emphasises the passage of time as it shapes the workers’ lives, illustrating the cyclical nature of their existence and the enduring impact of systemic exploitation. In this sense, Youth: Hard Times is not merely a documentary about workers in a factory; it is a portrait of a generation, a testimony to their struggles, dreams, and survival.

In Wang Bing’s signature stylistic approach, each installment of the trilogy, spanning more than three hours, unfolds with meticulous slowness, immersing viewers in an intensely detailed and deliberate narrative. This unhurried pace allows the films to achieve radical realism, capturing the raw texture of life while simultaneously bringing a dreamlike quality. Through this lens, the trilogy offers a portrayal of the journey of growing up and maturing in an unconventional and often harsh environment. It is a setting defined by hardship and loneliness, yet also imbued with a fragile and scattered sense of community, which endures despite the challenges faced by its members. 

Each installment of Wang Bing’s trilogy delves into a distinct aspect of life, growth, and maturation within the factories of Zhili. Wang beautifully crafts narratives rooted in the personal journeys of individual characters, emphasising pivotal life events and the challenges that shape them. These stories cover the struggles, fleeting joys, and emotional beauty of youth – stories of longing for home and the eventual return to family, often under life-altering circumstances. 

Through his protagonists, Wang presents a powerful portrait of China’s working class, capturing both its historical legacy and contemporary realities. This depiction stands in stark contrast to the gleaming, capitalist image of prosperity often associated with cities like Beijing, Shanghai, and Chongqing. Instead, Wang’s lens focuses on hidden China – the alleys of provincial towns where the majority of garments and textiles for domestic and international markets are produced, and where the daily lives of the lower-middle class unfold. 

Wang’s China represents the reality of a vast segment of the population, offering a counter-narrative to the mainstream success stories of the nation’s economic boom. This trilogy serves as a thoughtful creative documentary, providing a critical lens on the contemporary social conditions of one of the world’s largest economies and societies.

Written by Sara Simić 

Featured image courtesy of Locarno Film Festival

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