Cinema Truffaut Crtica d'aquesta pel·lcula dirigida per wong karwai. http://www.cinematruffaut.com/pub/arxiu/inthemood.htm
The Cultural Aesthetic Of Wong Kar-Wai Read this discussion about his movies focusing the characters and the culture. http://pages.emerson.edu/organizations/fas/latent_image/issues/2003-07/wong_kar_
Extractions: Emerson College Whether improvised or planned, the aesthetics in each frame present a sophisticated code to the message of the film. Thus, my analysis is centered on exploring this codified system of aesthetics, and the allusions and commentary it draws on the unique cultural environments in which these films were made. This will be analyzed in the context of three primary cultural concepts characteristic of the Hong Kong cinema: displaced identities and alienation, change and redefining cultural space, and notions of a new Hong Kong subjectivity. I propose that, in narrowing my analysis to the aesthetics presented in Chungking Express, Fallen Angels, and Happy Together, the cultural issues that inform these films can thus be illuminated. Aesthetics may be the primary components of surface value, but, when utilized properly, they can become the key components of depth and meaning. DISPLACED IDENTITIES AND ALIENATION As well as the mixing up of cultural iconography, these films seem littered with visual and auditory signifiers of diasporic identity issues. This can be very clearly seen in shot that juxtapose a character with his/her setting, and the appearances of cultural iconography that seems to be strategically (intentionally) out of place.
Wong Kar-wai Dominates Uneven "Eros" With the exception of wong karwai s contribution, the new three-part compilation film Eros is, alas, anything but erotic. That wouldn t necessarily be an http://www.indiewire.com/movies/movies_040917eros.html
Extractions: A scene from "Eros." Image provided by The Toronto International Film Festival. With the exception of Wong Kar-wai 's contribution, the new three-part compilation film "Eros" is, alas, anything but erotic. That wouldn't necessarily be an insurmountable barrier to enjoying it, but much of the film isn't, on any grounds, very interesting. A throwaway episode by Steven Soderbergh , whose script seems to have taken all of ten minutes to conceptualize, and an archly artificial effort by nonagenarian Italian master Michelangelo Antonioni , that will be of interest only to Antonioni aficionados, round out the ill-fitting trio. The most stirring thing about these two episodes, ironically enough, is the gorgeous song, "Michelangelo Antonioni," sung in Italian by the Brazilian singer Caetano Veloso, that connects them. Luckily, Wong's episode is haunting and lovely, once again very much in the style of his masterpiece
Extractions: Anguish and alienation have rarely seemed as attractive as they do in the films of Wong Kar Wai. In the Hong Kong director's previous films of this decade-Days of Being Wild, Ashes of Time, Chungking Express and Fallen Angels-characters divulge their feelings only in voiceovers, remaining pensive, solitary and gorgeous to the end. Even the most ardent lovers rarely get to meet. Time and place conspire against everyone. While they have the advantage of actually knowing each other, the lovers in Happy Together, Wong's latest, are only marginally better off. The flighty Ho Po-Wing-played by Leslie Cheung, best known in the West for Chen Kaige's Farewell My Concubine-and the sullen Lai Yiu-Fat-Tony Leung of John Woo's Hard Boiled and most of Wong's previous films-make love only once, vigorously and in the first scene. They've come from Hong Kong to Argentina to "start over," but instead everything quickly unravels. In Buenos Aires, Leslie becomes a hustler and Tony works as a doorman for a tango bar. Their relationship erodes in the worst possible environment- alienated in a foreign city and confined together in Tony's tiny apartment while Leslie convalesces after being beaten by a trick, they are unable to tear away from each other so they can only tear AT each other. "To me the film is not a love story," says Wong in a phone interview from New York late last year. "It's something like a love story AFTER. We started where a love story normally ended because I think most people would like to tell a story how these two guys met in Hong Kong and they fall in love and their problems living together so they run away from Hong Kong and they live happily together in Buenos Aires. So we try to start at this point. And to me the story is about how a person quits his habits. Just like a guy who smokes a lot and he knows it's not good for his health but somehow he's addicted to this habit, and when some force is joined in and he has enough energy to quit this habit."
Kino Product: The Wong Kar-Wai Collection DVD Director wong karwai Country Hong Kong Year 1991 In his first hypnotic backward glance at Hong Kong in 1960, wong kar-wai follows its half dozen http://www.kino.com/video/item.php?product_id=823
2046 Di Wong Kar Wai Due recensioni del film di wong karwai, a cura di Mariella Minna e Roberto Donati. http://www.centraldocinema.it/Recensioni/Ott04/2046_di_wong_kar_wai.htm
Extractions: di Wong Kar Wai Ultimo Tango a Hong Kong 2046, ovvero lamore in tutte le sue sfumature. Che cossè lamor canta Vinicio Capossela. Ce lo racconta Wong Kar Wai, autore di Hong Kong, dopo il fortunatissimo In the mood for love. Si può mancare il grande amore perché lo si incontra troppo presto oppure troppo tardi nella vita. Ma esistono amori diversi e in fondo questa consapevolezza ci dà anche la forza di sognare e di ricominciare a sperare, dopo ogni fallimento. Immersi in un mondo di colori, di sapori, di sfumature la solitudine è unattesa, la passione una resa, lamore un desiderio. Passato presente e futuro si sovrappongono costantemente, così come arte e vita, sogno e realtà, in un mélange in cui a tratti è difficile districarsi, ritrovare il filo sottile del racconto, perché questa volta il regista non intende raccontare bensì evocare, suggerire, sussurrare allorecchio dello spettatore un lungo e lento sospiro damore. La regia è impeccabile, giocata tutta sul doppio (gli specchi), le pause, i primi piani. La ricerca estetica è puntuale, limmagine perfetta ricorrente. Gli attori sono altrettanto sublimi nel rendere sentimenti così delicati e sfumati o appassionati e travolgenti. Le scene deros sono verosimili eppure delicate, quella passione che toglie il fiato non scade mai nella volgarità né nellordinarietà. Lunica consapevolezza, la bussola che ci aiuta a orientarci nel meandro delle emozioni del cuore, è che il passato non ritorna e che è impossibile riviverlo. Fermare lattimo, morire ogni volta per rinascere, ricordando anche ma non cercando di ricostruire la perduta felicità. E se lAmore è unossessione, la Storia si staglia allorizzonte, con tutto il suo portato di speranze e di paure.
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Happy Together Movie Review a personal movie review of Happy Together, a wong karwai film, starring Tony Leung and Leslie Cheung. http://users.aol.com/aleong1631/happy.html
Extractions: Imagine me and you, I do I think about you day and night, it's only right To think about the girl you love and hold her tight So happy together Hong Kong director Wong Kar-Wai received the Best Director award at Cannes in 1997 for his latest effort, "Happy Together", which details the pathological relationship between two homosexual men in Buenos Aires. This long-awaited follow-up to 1994's "Chungking Express" and 1995's " Fallen Angels " is more linear than his previous films, but love it or hate it, it is classic Wong Kar-Wai, rife with the metaphorical musings of the hopeless romantic. If I should call you up, invest a dime And you say you belong to me and ease my mind Imagine how the world could be, so very fine So happy together HT exhibits many of the hallmarks inherent in all of Wong Kar-Wai's films. The story, rather than being plot-driven, is theme-driven, with many layers of interpretation. Every aspect of the story, whether it be characters, the occupations of the characters, or even where they stand in a room, speaks to hidden metaphors and subtext. His characters are usually divided into two camps with opposing philosophies, and this is seen in the contrast between Lai and Ho. Lai, the more reserved and responsible of the two, is haunted by the past and is blinded to opportunities in the present by the haze of nostalgia. Ho, the more petty of the pair, has a shiftless life without any 'memory' of the past, which leads to a meaningless existence and the need to define his own purpose through his relationships with others. This same juxtaposition was seen between Yuddy and the cop in "Days of Being Wild", and the Hitman and Michelle in "Fallen Angels".
Wong Kar-wai: Time, Memory, Identity In As Tears Go By, wong karwai takes the courageous position of showing more However, wong kar-wai returns to the serious course when he subverts a http://www.kinema.uwaterloo.ca/toh951.htm
Extractions: SPRING 1995 HOME I N HIS brilliant triad film debut As Tears Go By , the Hong Kong's maverick filmmaker Wong Kar-wai seeks to challenge popular audience expectations of the genre. A story about male bonding in which two friends are hired by the triads to carry out a murder, the film was selected by the informed programmer of the 13th Hong Kong International Film Festival (1989) to represent new Hong Kong films of the 1990s. The choice was prophetic in highlighting the thirty-one-year-old director as a new and exciting film talent. The following five years have seen Wong achieve an eclectic oeuvre of films which departs from the tidal wave of fast-paced Hong Kong films packed with sex and violence. In As Tears Go By , Wong Kar-wai takes the courageous position of showing more interest in the existential motivations and feelings of the film's two protagonists (Andy Lau and Jacky Cheung) than in the workings of the triads and their victims. The film's violence is never gratuitous and excessive. Indeed, Wong uses the frenzied hand-held slow-motion photography to convey the indecisiveness of the young assassins. Already in this film, his famous trademark of the "cool" anti-hero has surfaced. Andy Lau portrays the slick and unruffled partner who refuses to be romantically committed to his lover (Maggie Cheung in a low-key performance). His coolness is counterpointed by the hot-headed spontaneity of Fly (Jacky Cheung) who is always looking for trouble.
FILM.TV.IT | Eros (2004) Scheda e trama del trittico di film diretti da Michelangelo Antonioni, wong karwai e Steven Soderbergh. http://www.film.tv.it/scheda.php?film=27027
Kar Wai Wong Learn about the complete filmography and see photos of the Hong Kong director at the Internet Movie Database. http://us.imdb.com/name/nm0939182/
HONG KONG EXPRESS : 2046 Recensione del film di wong karwai, a cura di Matteo Di Giulio. http://www.hkx.it/f860.html
Extractions: non è un remake, non è un sequel, non è neanche la continuazione immaginaria del lavoro di un regista, Wong Kar-wai, ormai espressamente votato al terreno del mélo passionale e appassionato. Eppure le somiglianze con precedenti lavori del regista, Days of Being Wild e In the Mood for Love - di quest'ultimo la pellicola costituisce semmai una negazione carnale e complementare -, sono evidenti, anche se di strettamente uguale rimangono soltanto i nomi (ma i personaggi in questione sono poi l'opposto viscerale degli archetipi). Chow Mo-wan, scrittore, ex giornalista, trascorre languide giornate in una camera d'hotel scrivendo e torride serate corteggiando donne, cercando di conoscerle senza impegnarsi. Nel suo cuore c'è sempre una Su Li-zhen da ricordare, stavolta in una Singapore ombrosa e disperata, dove il gioco (d'azzardo, e del destino) lo ha portato a nascondersi. Prima di lei (e del suo alter ego di un'altra pellicola) c'erano una Lulu dal fato tragico, una splendida Bai Ling, vicina di camera e di sentimenti, quindi l'inquieta Wang Jing Wen, figlia dell'albergatore, innamorata invano di un giapponese che solo nel futuro potrà confidarle il proprio amore.
Wikipedia Wong Kar-Wai Provides a brief biography as well as the filmography and received awards of the filmmaker. http://en2.wikipedia.org/wiki/Wong_Kar-wai
Wong Kar-Wai - Charisma Express Read this detailed review about his person and his work at Sight and Sound. http://www.bfi.org.uk/sightandsound/archive/innovators/kar-wai.html
GreenCine | Wong Kar-Wai wong karwai, show images/hide images. movie title, related list, average rating, MPAA rating, watch, rent. 2046 (2004). 1 2 3 4 5 6 7 8 9 10. Not Rated http://www.greencine.com/character?cid=559403
All Movie Guide Peruse his short biography and his filmography and see what awards he won. Also have a look at people, he worked with. http://www.allmovie.com/cg/avg.dll?p=avg&sql=B194627
Nicole Kidman To Star In Wong Kar-wai's Film When wong karwai held a press conference for his 2046 in Bangkok over the weekend, wong kar-wai His movies, his soundtracks and more http://www.chinadaily.com.cn/english/doc/2005-01/25/content_411977.htm
Extractions: Hollywood film star Nicole Kidman smiles for Japanese fans in Tokyo January 21, 2005. Kidman made an appearance before fans at the Marunouchi Building in the heart of the Tokyo business district. [AP] This time the Hong Kong director plans to put Kidman on center stage of his new production Lady from Shanghai, which begins shooting in June. Wong said Kidman did not request to see the screenplay, which fully reflected her trust in Wong. It seems Kidman has already prepared to adapt to Wong's trademark directing style, which focuses less on script and more on on-spot shooting. Wong also revealed Kidman already knew the major plot line of the story. The story is inspired by a lady in danger and mixes love with espionage. The movie will be produced in Shanghai but features an international cast. Therefore, selection of the working language to be employed during shooting attracted plenty of attention.
Wong Kar-wai Read about the film aesthetic of his movies in an essay by Elizabeth Wright. http://www.sensesofcinema.com/contents/directors/02/wong.html
Extractions: Wong Kar-wai is undeniably an auteur of striking and salient cinema, standing apart from much mainstream Hong Kong cinema. Wong belongs to the mid-1980s Second New Wave of Hong Kong filmmakers who continued to develop the innovative and fresh aesthetic initiated by the original New Wave. The Second Wave, which includes directors such as Eddie Fong, Stanley Kwan and Clara Law, is often seen as a continuation of the first as many of these directors worked as assistants to First Wave directors such as Tsui Hark, Ann Hui and Patrick Tam (with whom Wong worked and collaborated). The innovation of this group of filmmakers was linked to the social and political issues facing Hong Kong as well as an artistic impetus. The uncertainty with which Hong Kong citizens faced the 1984 Sino-British Agreement outlining the handover of Hong Kong to China forced Hong Kong residents and filmmakers alike to confront and examine their relationship with China. This issue was translated into film by the Second Wave of cinema but done so "with introspection rather than outright cynicism" that "brought Hong Kong cinema to a new level of maturity".
Calendarlive.com: Hong Kong's Poet Of Regret The impassive Hong Kong director wong karwai, blinking behind sunglasses that almost never come off and shrouded in his own cigarette smoke, tends to pause http://www.calendarlive.com/movies/cl-ca-wong24jul24,0,4689587.story
