Wang Bing concludes his monumental Youth trilogy in expansive fashion, giving ever wider scope to the lives of migrant workers in Zhili’s textile factories as they plan to go to their remote hometowns to visit their families and celebrate the festivities for New Year’s break.
Qing chun gui, 청춘(홈커밍), Jeunesse (Le retour), Qingchun: Gui
Italy
Venice International Film Festival
Canada
Toronto International Film Festival
USA
New York Film Festival
South Korea12
Busan International Film Festival
UK
BFI London Film Festival
Canada
Italy
South Korea
UK
USA
VENEZIA 81 #28
La macchina da presa non é una “presenza nascosta” come richiederebbero altri documentari come quelli di Frederick Wiseman. Al contrario. Essa agisce da “testimone diretto” degli avvenimenti, diventa una presenza palpabile verso cui si mostra curiosità o con cui si entra addirittura in contatto, urtandola talvolta come se fosse un comune passante. Quello che fa il regista Wang Bing nel terzo capitolo della sua “saga” dedicata ai giovani e al mondo del lavoro é quello di far entrare lo spettatore (nonostante le due ore e mezza di durata) direttamente nel mondo quotidiano di chi si avvicina nell’ambiente difficoltoso dei laboratori tessili tra padroni che non sganciano un soldo, matrimoni vivaci in mezzo ai paesi sulle montagne e…
i don't think i have any other new thoughts to add to this film(s) (it's actually meant to be a single 10-hour film :0) other than it is a towering work of art. during the post-screening q&a wang said something along the lines of "these are ordinary people who may not have anything special about them, and i want their lives recorded to a film" and that's probably going to stick with me for eternity
Takes us out of the factories and into the hometowns of the trilogy’s subjects. Oddly, even though the break from the monotony of the workshops of part one and two should make for a more interesting and dynamic film, I felt like leaving the workshops deprives the film of a certain rhythm and pattern which made the other films feel so unique.
While the other films in the series show the youth being squandered on working endless hours in dark rooms, this one shows the life outside that the youth are missing out on. The families, the friends, the quality time that life is actually about.
But yeah, it still doesn’t click as much as the others did for me. Weird that less monotony and mundanity = less interesting?
In the director Q&A Wang Bing said he wanted ordinary people's lives to be part of film history. That's what I love in documentary film; the camera lingering on a man washing in the cold village winter, or the ending shot of another generation experiencing their youth with as much toil as can be wrung from them. The hard times aren't over, homecomings aren't just joyous.
For our demands most moderate are
We only want the Earth
