This politically stirring and at times truly heartbreaking Golden Horse-winning documentary gives us that intense journalistic, on the ground experience of the 2019 Hong Kong protests from start to end.
Rich characterisations adorn this talky slice-of-life drama from Ann Hui as it tackles love-hate family dynamics and dementia with bittersweet results.
Chan does his stunts and comedy with aplomb, but this sequel is let down by a wafer-thin plot and poor pacing.
Like Leone’s Once Upon a Time in America, this is a film about the nostalgic evocation of time, space, style, and tradition.
Wong’s English-language debut could be his weakest film, though there are moments of soulfulness to savour.
Playing with narrative time liberally—or perhaps too haphazardly—Wong’s largely incoherent if artfully-conceived martial arts film works best as an evocation of old places and old romances.
There’s a lot of filmmaking artistry to appreciate, and so is the sizzling chemistry between Tony Leung and Zhang Ziyi in this follow-up to In the Mood for Love (2000).
Arguably Wong Kar Wai’s finest hour, the film is gorgeous yet restrained… like an alluring and yearning waltz.
One of Wong’s most straightforward films is arguably his most mature, about the intimate kinship between two men.
It may be difficult to connect emotionally, but this darker companion piece to ‘Chungking Express’ (1994) has all the hallmarks of Hong Kong’s premier visual stylist.
Eternality Tan 