Wang Bingdocumentary of young (spring), one of the main Cannes Nearly 20 years on, the contest takes an interesting turn in its portrayal of garment workers living in the harsh conditions in China̵7;s clothing capital, Zhili City.
document in fact, As Deadline’s Matt Carey saysThere is a spice of life approach in showing how these rural residents find their way and build lives together in harsh living conditions in more economically vibrant areas along the Blue River Delta. Nevertheless, the intent of the document is not to expose abuse.
Wang Bing said at the Cannes presser today whether he was emotionally affected by the condition of the garment workers, “I am someone who does not get upset very easily. All I know how to do is make films. So, the way I express my sensibility is through cinema and how I express myself… the focus is on the people I am filming.
That said, the plight of these garment workers is not lost on Wang Bing, especially in China where the notion of destiny is prized.
“Perhaps in the western world, you talk about fate or destiny, we are all animals and we are bound to die one day, so basically people are referring to the natural process of life and death,” Film Said producer, who shot the film in the five year time frame of 2014-2019
“Of course, when we talk about destiny in China it also means,” said the filmmaker, “For me, in China, I think there’s an additional dimension: how people get more and more power.” manage to do. ,
“I think that no one wants to be someone else’s instrument or tool, this is the reality of the situation,” Wang Bing said. He told how he kept in touch with one person even after the shooting time. “This man got married, then got divorced and the family broke up. She had to raise a child on her own while working in these garment workshops,” said the director.
“The result is that when it comes to the fate of these individuals, it is changing rapidly. Big changes have happened; wonderful times from a human standpoint. As they grow up, they become adults. Are.”