This study focuses on the film "So Long

My Son" directed by Wang Xiaoshuai

examining the portrayal of the working class and its intrinsic connection to spatial narrative. By integrating spatial narratology and class criticism

the film is analyzed for how it presents the historical changes and identity transformations of the working class in China after the reform and opening up through specific spatial configurations and narrative strategies. The article highlights that "So Long

My Son" constructs a process of transformation in the image of workers from collectivism to individualism and from state narratives to family narratives through a three-tier spatial narrative structure of "factory-family-migration." It reveals the groundbreaking significance of "So Long

My Son" as a new worker film

offering a fresh perspective on class studies in contemporary Chinese cinema.