Workingman's Death

Very good documentary about the working conditions of five groups of workers. Even though it's the twenty-first century, the director wants us to know that a lot of workers across the world have not benefited from the advancement in technology. First, we're off to Ukraine to learn about the work of some coal miners. Their work conditions are just unbelievable. Then, the director brings us to Indonesia to show us the hard work done by the sulfur miners (I didn't know nothing about this line of work). We are then transported to Pakistan, where we are shown the work of ship-breakers. Again, I was unaware that ship "cemetaries" of this sort still existed today. The open slaughterhouse of a Nigerian city is next. Animal activists beware: don't watch! I was just fascinated by the chaos that seems to reign in that place. Finally, we are shown the working conditions in the steel industry of China.

All those segments are presented without real context. There's no narration. But it's easy to follow, to get the point. And the images say a thousand words. Beautiful cinematography and very good camera movement. Some times, the camera moves with the subject, Some times, subject and camera are not moving. It's like a photo shot. One thing is for sure, you always feel like you're in the middle of the action. Even though, you see the despair, you can also see hope in what most of these workers say. Watch it. It's a great eye-opener.

Seen at the Toronto International Film Festival (at the Cumberland Cinemas), on September 17th, 2005.

87/100 (***½)

I saw this film at the 2005 Toronto International Film Festival. After you see this film, you'll never complain about your job again. Subtitled something like "Five Portraits of Work in the Twenty-First Century," Glawogger's documentary features some of the most dangerous, difficult, or just plain unpleasant work in the world.

Each segment except the last one is about twenty-five minutes long, and is shot without any voice-over narration and very little editorializing. We are simply presented with people working and talking about their work. The director possesses a very painterly sense of composition, and we're often presented with shots of workers posing as if they were in front of a still camera. The camera-work is even more impressive when it is moving, and I often found myself wondering how they were able to film in some of these conditions.

The segments follow, in order, a group of miners in Ukraine who have dug their own coal shafts, a group of men in Indonesia who collect sulfur from an active volcano and haul it down the mountainside, butchers at an open-air slaughterhouse in Nigeria, men who break apart rusting ships for scrap metal in Pakistan, and steelworkers in China. Although all of these workers are merely surviving, the thing that struck me most was how contented, even happy, most of them were.

That being said, three of the five segments featured Islamic societies, and I found myself wondering about the connections between the conditions these men were working in and the rise of Islamic radicalism. Among the shipbreakers in Pakistan, for instance, there was an interesting segment which followed a photographer who circulated among the men charging them a fee to take pictures of them holding an assault rifle. There was no voice-over, but I got the impression that these men wanted to be seen as revolutionaries instead of just subsistence scrap workers.

The most intense segment had to be among the butchers, and there was quite a lot of blood and gore evident as we watched the men work. But strangely, I found this a more honest approach to the production of food than I saw in the factory farms in a film like We Feed The World. These butchers are "hands-on," literally.

The final segment, filmed among steelworkers in China, was the shortest, and the least interesting, but the director was trying to end with the optimism of the Chinese workers for the steel industry, which he contrasts with shots of a defunct steel mill in Germany that's been turned into an art installation. His point was slightly unclear, but overall, his unflinching eye for detail, even in some harrowing work environments, makes this documentary a must- see.

I was fascinated by this documentary and wanted to see more. Then the long, never-ending series of animal murders began. I am not an animal activist but I should be, because nothing bothers me more than to see a human being kill an animal. Those scenes made Hannibal Lector look like an alter boy.

The horror of it - I watched for 3 minutes or so and had to turn it off. Each animal saw and smelled all the death around him as he was dragged around in the mud, waiting his turn. The twitching bodies of those still not quite dead . . . too much. I realize that those people did it to feed and support themselves - but I will never forget those scenes. Maybe that was the point.