Wong’s expanded version of his short for the ‘Eros’ anthology is more erotic and fatalistic than usual, and also an aesthetic and thematic extension of the world he created with ‘In the Mood for Love’.
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 yet yearnful 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.
Wong’s influential international breakthrough is fascinating, but it is not always well-paced.
Wong Kar-Wai became one of contemporary Chinese cinema’s most distinctive auteurs with this dreamy-romantic if fatalistic evocation of 1960s alienation and forlorn.
Eternality Tan 