The film, which premiered in competition at the Venice Film Festival, documents the workers’ journeys to distant places like Yunnan, a province situated on the other side of China, or Anhui, neighboring Zhejiang. These picturesque backdrops serve as a stark contrast to the often chaotic, cramped spaces where they work. However, instead of following a strictly linear timeline, Wang opts for a non-chronological structure, weaving together moments from different years. For instance, one scene captures Shi Wei back in 2016, hard at work with his tools, while moments later, we jump forward to watch him carrying his soon-to-be wife, Liang Tien Liang, on his back along a winding mountain path during their wedding celebration. This time-jumping approach not only adds depth to the characters but also serves as a reminder of the passing years and the enduring hardships these workers face.
In Homecoming, clothing becomes an unspoken reflection of the individuals we follow, which is particularly poignant given their profession. Spending upwards of 15 to 18 hours a day assembling children’s clothing, the workers’ attire changes when they return home. Here, they stand out in sharp contrast to their relatives, dressed in more fashionable or designer-branded outfits. One young woman, for example, trudges through muddy fields to reach her home, sporting a stylish jacket adorned with lilac fur, symbolizing the small ways these workers differentiate themselves after spending long periods in the city. Yet, despite the apparent success their clothing might suggest, their return home often brings with it a barrage of complaints from parents and elders, who recount tales of village squabbles, accumulating debts, and declining health—stories all too familiar to anyone who has moved away from their family for work.
While life back home is filled with emotional challenges, the realities in Zhili are hardly better. In Spring, the workers were seen laughing, flirting, and finding small joys amidst their monotonous tasks, but by the time we reach Hard Times, things had taken a darker turn, with civil unrest and the exploitation of contract workers becoming more pronounced. Homecoming continues to highlight the harsh realities for those seeking work in Zhili, particularly for newcomers who spend days wandering from workshop to workshop in search of employment. Wang follows them with quiet determination as they navigate the industrial streets of Zhili or the rugged terrain of their rural hometowns. Whether they’re securing a place to sleep or reuniting with family for holiday traditions like lighting firecrackers, Wang captures the mundane and profound moments of their lives with equal care.
There’s a certain hypnotic quality to Wang’s filmmaking style. His ability to capture both the intricacies of garment construction and the quiet moments of rest or travel speaks to his sensitivity as a documentarian. Yet, despite these strengths, the film’s lack of variety can become taxing over time. The long, unbroken takes, while immersive, may challenge viewers’ patience, especially when scenes of everyday labor are repeated with little differentiation. One can’t help but wonder how the story might have evolved if Wang had continued filming through the COVID-19 pandemic, which drastically reshaped the garment industry and forced many of these workers to return home permanently. The pandemic’s impact would have undoubtedly introduced new layers of tension and drama to an already compelling narrative.
Ultimately, Youth (Homecoming) is a fitting conclusion to Wang Bing’s trilogy, offering a poignant look at the lives of Chinese garment workers both at work and at home. Despite its slow pace and occasional repetitiveness, the film provides valuable insight into the complexities of rural-to-urban migration, the sacrifices made in pursuit of a better life, and the ever-present tug of family obligations. While the trilogy may have ended just before one of the most transformative periods in modern history, Wang’s work stands as a testament to the resilience and determination of the people it portrays.
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