The concepts of rapid industrialization and de-industrialization are quite prevalent in China, where the decisions of authorities regarding nation-wise policies have been taking a significant toll on people all over the country. Meitian, a city in Hunan, experienced the former during the 80s, when a decision to mine coals in the area, due to concerns about regional industrial self-sufficiency in the event of war, made the place ‘fashionable’. People drove cars in an era where they were barely present in rural China, dressed fashionably and were considered rich by their neighbors, even in bigger cities. When the decision was deemed obsolete, the mines were abandoned along with the people who surged in Meitian to work in them, leaving just the consequences of intense mining for those who were left behind to deal with. Li Jie, who is actually from the region, talks to a number of people who still stay or used to stay in Meitian, as much as some of their descendants, in order to present both the aforementioned statuses of the city.
The people in charge of the mine and authorities of the area at the time talk about the political decisions that led to both states. Miners and their families talk about everyday life, the clash between the locals and those who came to work, the cinema of the city, their accomplishments in the mine and the problems they faced. The titular feeling seems to be emitted by everyone, although some bitterness about what eventually occurred is also evident.
An intense accident that killed more than 50 people in the area seems to be a common thread, while the people who remain talk both about the glory days and the issues they face now, with the rifts due to the digging that many of the buildings that remain show, emerging as the most significant. As time passes, the fact that this is a dying town and that its inhabitants are either ‘ghosts’ who cannot leave or people on the brink of leaving, presents the most direct comment about what is happening nowadays.
Li Jie implements a rather detached approach, which is exemplified by the fact that many of the interviewers talk about things in the past that are only visible through their consequences, if at all. This approach, though, suits the nostalgia/decay that permeate the stories heard, resulting in a documentary that tells its story in a rather fitting fashion. The images of the people still working on the mines and the ones that produce coal briquettes highlight that there is still life there, and essentially change the tone, as is the case with the various panoramic shots of the area. These elements provide a relief from the ‘talking heads’ approach, in another nice choice by the director.
The editing and the succession of the various interviews, footage and current shots of the area works well, telling the story in an approach that is essentially split in chapters, each one revolving on an event or other instances of everyday life. At the same time, at 95 minutes, the documentary overextends its welcome somewhat, as some ‘chapters’ are either too long or even not particularly interesting.
As a whole, however, and despite these few issues, “Nostalgia” emerges as a competent film that tells an interesting story with more national implications, in a rather entertaining way.
