剧情介绍
To the south of the Indian metropolis of Surat in Gujarat province lies a vast industrial zone that has been growing ever since the 1960s. Director Rahul Jain filmed the grueling daily routine in just one of the many textile factories there. In the factory, man and machine seem to have fused into one being. It is dark and dank, and barely any daylight penetrates the space. The labor is heavy and mind-numbing, and the work days seem endless. We are drawn into a gloomy world where the cacophonous beat of machinery sets the rhythm of toil. Jain is as interested in the mysterious connection between worker and product (the fabrics are treated mechanically, but also with love) as he is in the degrading conditions. Each shift lasts 12 hours, for adults and children alike, and wages are extremely low. Short interviews are interspersed throughout the observational sequences, some of which are captivating in their beauty while others are painful to watch – such as when we see a boy nodding violently in his struggle to stay awake. (From IDFA official website)
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花
肮脏的工厂,艳丽的纱鞘。和棉纺厂的芦柴棍重合在了一起,不同的是那时的中国只有知识分子才能了解到外界的鲜亮,现在的世界那么大又那么小,那个在白色集装袋旁安坐的老人啊,确实,让人得到安慰的是人终将死去无论贫富。而如果从影响力来评定的话,您说的这些话远远将比那些凌驾于你们财富地位的老板受众更广。 到底是机器操作是供过于求,劳动力无法找到出口迫于压力,还是资本操作的假象。机械化真的让人很不解,一方面解放了人,一方面又使人困惑。 有领袖一般的发声,但是更多的是那个年轻小孩一样在接受。看到了,然后呢?一番无关痛痒的评判,是外界插手?还是只能内部解决?
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2020年11月20日
timothy 光
导演本人比这部片子更有趣。记在伦敦ICA的放映见面会,怎样治愈了一个整天只会瞎bb,感觉好像自己在关心底层的文科博士生。。。
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2020年12月27日
四季de风
看的第一部印度纪录片,死亡才感到存在。
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2020年11月20日