In 2011, Cai took his two sons to his workplace, a factory in Fuming, where he worked as a stone caster, and found a school for them. Ever since, they have been living in a hut owned by the factory, with only one bed. We received threats from the boss and had to stop filming.
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The problem isn't the duration of the shots (it is there that relies the anguish of the film - that indirectly reflects the chinese state of things) but the cutting from one to another, that produces only a vague structural meaning. The power of the off is amazing, since Bing pratically uses only one point of view, the same shot of a room where a door, a television and a phone connect to the enigmatic outside world.