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The film shows young Chinese assembly line electronics workers, and a few speak to the camera about the pressures to produce and work long hours.
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In country, we meet Li Quiang of China Labor Watch: workers' pay is so low it accounts for only 1% of iPhones' cost. Scott Nove, Worker Rights Consortium, explains how outsourcing enables companies like Apple to bypass human safety rules and allow young poor workers from the country to be pushed to the point of suicide in China so 100 million iPods can be sold or a million iPhones can be delivered in a week. (Mark, the son, is not a "talking head." It's his body and his helplessness that speak.) Since 1999, the consumer electronic gadgets have snowballed, with severe consequences. We meet a woman who cares for her son born with severe developmental disability due to her exposure to chemicals 30 years ago. More about this comes from Amanda Hawes, a lawyer on a team that brought a class action against IBM in the Nineties for workers with health problems from chemicals used in company production. This will come as news to most of us even who live in or near Silicon Valley. All the big tech company Silicon Valley locations are Superfund sites, he says, and cleanup will take not decades but centuries. Ted Smith, a Stanford lawyer and environmental activist who founded Silicon Valley Toxics Coalition, reports on the toxic chemicals stored in Silicon Valley that have entered the ground and says the EPA Superfund program requiring environmental cleanup of factory damage is more active in Silicon Valley than anywhere else in the country. Ma Jun, Institute of Public Environmental Affairs (China), explains that more than 60% of China's groundwater is not suitable for human use. So while the film has plenty of atmospheric and revealing film footage of customers, workers, and (damaged or damaging) environments, what counts most in Williams' film are the people who address the camera. This is a film about the dark side of tech and are you surprised that Apple is the biggest villain? A mostly talking heads documentary can still be very valuable, and Sue Williams' film is living proof.