Set in the heart of China’s garment factory zone, Zhili City, renowned director Wang Bing’s documentary Youth (Spring) offers an unflinching gaze into the daily grind of young textile workers. This extensive cinematic venture, which spans three and a half hours, forms the first installment of a three-part series illustrating life, laughter, and hardships in the workspaces awkwardly juxtaposed on “Happiness Road.” Crafted from a massive compilation of 2600 hours of footage taken across five years (2014-2019), the documentary is an assemblage of 20-minute segments that sketch a mosaic of youthful existence in the midst of relentless labor, vividly bringing to the fore the camaraderies, flirtations, and dreams that simmer in the harsh realities of their work environment. Despite the crushing routine and the ceaseless noise of sewing machines that underscore their long work hours, Bing captures moments of playful banter and budding romances that evoke a strange sense of cheerfulness and youthfulness juxtaposed on this industrial backdrop. We witness intimate slices of life such as negotiations over meager pay and discussions of potential marriages — a testament to the profound connections fostered in arduous circumstances. Through Bing’s observant lens, devoid of dramatic or aesthetic touches, viewers are submerged in a dense tapestry of experiences, witnessing the aspirations, love, and friendships that knit these young workers together, despite their dwindling dreams and exhausting routines. While Youth (Spring) delineates the simple joys and pains embedded in the mundane, it does not overtly criticise the garment industry. Bing navigates the lives and interactions with a subtle sociological inclination, offering a tender yet raw glimpse into a community forging connections amid deprivation. In doing so he paints a picture of life that is as grim as it is vibrant, holding a mirror to a neglected part of modern China’s economic landscape.   Nicole Guillemet