#8 Ciclo Kar Wai Wong

Sobre Kar Wai Wong:
“award-winning Hong Kong filmmaker, internationally renowned as an auteur for his visually unique, highly stylized films. Wong was listed at number three on the respected Sight & Sound Top Ten Directors list of modern times”

Sobre os filmes que compõe o ciclo:
1) In the Mood For Love – Fa yeung nin wa (2000)
“Hong Kong, 1962: Chow Mo-wan and Su Li-zhen move into neighboring apartments on the same day. Their encounters are polite and formal-until a discovery about their respective spouses sparks an intimate bond. At once delicately mannered and visually stunning, Wong Kar-wai’s In the Mood for Love is a masterful evocation of romantic longing and fleeting moments in time. “

2) 2046 (2004)
“Hong Kong filmmaker Wai is such a visualist (Time magazine tabbed him as the “world’s most romantic filmmaker”), the images wash over with swirling smoke, neon lights, and the faces of his outstanding cast, all lovingly photographed and smoothly scored. There’s a lot more going on than the visuals, and Wai’s fans will certainly find more and more details on repeated viewings.”

3) Chungking Express – Chung Hing sam lam (1994)
“What Chungking Express does have is loads of energy and a gorgeous visual style that never gets in the way of engaging with the charming characters. The movie was shot on the fly by hip director Wong Kar-Wai (Happy Together, Ashes of Time), using only available lighting and found locations. The movie’s loose, improvisational feel is closer to Jean-Luc Godard’s Breathless than any recent film–and that’s high praise. Quirky, funny, and extremely engaging, Chungking Express manages to be experimental and completely accessible at the same time.”

4) Fallen Angels – Duo luo tian shi (1995)
“this is antic, stylish, and oddly touching, all at the same time (…) is fragmented and oblique to the point of occasional incomprehensibility…but then suddenly something wild or wonderful happens, such as the moment when the killer leaves the scene of a spectacular shooting and is promptly waylaid by a cheerful old school chum on a public bus. These coups–whether lyrical, violent, or simply “how on earth did they get that shot?”–are tossed off by Wong and cinematographer Christopher Doyle with all the cool of the hired killer, as though the movie were a cigarette dangling from a pair of oh-so-casual lips. This is exactly why so many otherwise calm critics fell all over themselves in hailing Wong Kar-Wai as one of the most exciting filmmakers of his generation.”