Sentences with phrase «kar wai»
Not exact matches
In a Wong Kar - wai movie, say, such lavish design will mirror or counterpoint emotion; here, in the absence of any emotion whatsoever, it comes across as affectation at best, desperation at worst.
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Hong Kong writer - director Wong Kar - wai's «Chungking Express» is hip and entertaining... Technically, the film is first - rate, while all the principal performers are excellent.
The unexpected love child of Wong Kar - wai and Andrei Tarkovsky, «Long Day's Journey Into Night» transforms from a lush, slow - burn pastiche to an audacious filmmaking gamble while maintaining the pictorial sophistication of its earlier section.
And Scorsese was undoubtedly a key stylistic influence for two of the most direct precedents and palpable influences (John Woo's The Killer and Wong Kar - wai's As Tears Go By) for the film he himself has ended up remaking.
An abundance of style and an almost total lack of substance make Wong Kar - wai's Happy Together a visually arresting but ultimately unrewarding excursion.
For every success of the scale of John Woo (Hard Target, Broken Arrow, Face / Off, Mission: Impossible II, Windtalkers and Paycheck), there are mixed reactions as seen with Wong Kar - wai (My Blueberry Nights), and failures as demonstrated by Lau Wai - keung (The Flock).
It's a cautionary tale of collective malpractice and personal greed all converging at a moment which helped set about the global economic downturn, and the production design (by regular Wong Kar - wai collaborator William Chang) opts to remove all walls from the aesthetic equation as a way to emphasise that, even though it's a culture which thrives on secrets and subterfuge, there really is nowhere to hide your dirty laundry.
«Lost In Translation is essentially just Wong Kar - wai lite; the Coldplay to Wong's Radiohead, if you will.
Amazon has given a straight - to - series order for a period crime drama called Tong Wars to be written by Paul Attanasio (Bull, Homicide: Life on the Street) and directed by Wong Kar - wai (In the Mood for Love) that will apparently be based on the Chinese gang wars that occurred in the late 1800s in the Chinatown districts of San Francisco and other big U.S. cities.
Considered one of the greatest films of the 21st century so far, Wong Kar - wai's In the Mood for Love is, as its title suggests, also a remarkable mediation on love and pains one goes through to catch up for missed moments.
Chow's new film, Kung Fu Hustle, broke Asian box - office records — set by his previous film, Shaolin Soccer — and at this year's Hong Kong film awards it beat out 2046, by art - house darling Wong Kar - wai.
Love hurts in Wong Kar - wai's characteristically swoonworthy account of the codependent tango between impulsive Ho (Leslie Cheung) and down - to - earth Lai (Tony Cheung), a Hong Kong couple adrift on the other side of the world.
This isn't a Wong Kar - wai or Takashi Miike film in which multilingual conversations would be done for effect.
Though the influence of Hong Kong director Wong Kar - wai on Barry Jenkins» Moonlight has been well documented, the Best Picture winner's most direct allusion to the master of exquisitely stylised melancholy comes via its brief use of Caetano Veloso's rendition of «Cucurrucucú paloma» by Mexican composer Tomás Méndez, a lovesick piece also features in the soundtrack of Wong's own mood - drenched classic of gay cinema, 1997's Happy Together.
«The Grandmaster,» from Hong Kong director Wong Kar - wai, was a contender for best cinematography and costume design but went home Sunday night empty - handed.
For a film mainly guided, stylistically, by feeling more than by thought, Wong Kar - wai's In the Mood for Love opens rather pragmatically: A simple exchange in an apartment hallway b...
OGF looks like Wong Kar - wai meets Stanley Kubrick and sounds like The Shining meets Vangelis, interspersed with C - pop karaoke translated into Thai.
A Chinese star who grew up in England (which accounts for her excellent English) and who's appeared in almost 70 films since 1984, including most of the features of Wong Kar - wai, Cheung is exceptionally gifted when she's doing comedy (as in the 1989 The Iceman Cometh) and pantomime (as in her great performance as the silent Shanghai film actress Ruan Ling - yu in Stanley Kwan's 1991 masterpiece Actress).
Chungking Express (Wong Kar - wai, 1994) Loneliness and the search for connection.
filmography bibliography articles in Senses web resources Wong Kar - wai is undeniably an auteur of striking and salient cinema, standing apart from much...
Ultimately I decided Pulp Fiction had to be # 1, because without it, I might never have seen a Wong Kar - wai movie.
As a companion to Jenkins's recent appreciation of Wong Kar - wai in our
It is with Platform that Jia joins the ranks of contemporary filmmakers like Tsai Ming - liang, Hou Hsiao - hsien and Wong Kar - wai, who have all been at the vanguard of analyzing the qualities of cinematic time and its relationship to time in one's non-cinematic experience.
Set at a Hong Kong investment firm during the 2008 financial crisis, Office finds To and his creative team — which here includes production and costume designer William Chang, Wong Kar - wai's main man — visualizing the market through parallel narratives, geometric lines, and capital - M metaphors.
The selection of films incorporates some of the most significant (and most discussed) examples of international «art cinema» and off - Hollywood cult cinema from recent years, the bulk of them released between 2000 and 2006; examples include In the Mood for Love (Wong Kar - wai, 2000), Memento (Christopher Nolan, 2000), Mulholland Drive (David Lynch, 2001), Irreversible (Gaspar Noé, 2002), Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004), and Caché (Michael Haneke, 2005).
The films include Wong Kar - wai's Hong Kong entry The Grandmaster, the Belgian film The Broken...
Ten Best (chronological): Tales of the Forgotten Future (Klahr), Point Break (Bigelow), Tribulation 99: Alien Anomalies Under America (Craig Baldwin), Unforgiven, The Valley of Abraham (Oliveira), Spin (Brian Springer), When We Were Kings (Leon Gast); Happy Together and Ashes of Time (Wong Kar - wai); Genealogies of a Crime (Ruiz); Flat Is Beautiful, It Wasn't Love, and Jollies (Sadie Benning)
Of the small sampling of Hong Kong films I've seen, the ones I've liked best are not usually the pop action blockbusters but some of the so - called art movies, which in some cases have been box - office failures (largely because there is no art - movie market in Hong Kong): Yim Ho's Homecoming (1984), Wong Kar - wai's Days of Being Wild (1990), Stanley Kwan's Center Stage (1991), and Yim Ho and Tsui Hark's King of Chess (1991).
Gavin Smith Adaptation; Bloody Sunday; demonlover; Far From Heaven; Femme Fatale; Friday Night (Claire Denis); Ichi the Killer; Super 8 films of José Rodriguez; Unknown Pleasures; The Visitation (Nathaniel Dorsky); Video:; One Mile per Minute (Robby Abate); Down from the Mountains (Alfred Guzzetti); Music Video: Six Days — DJ Shadow (Wong Kar - wai)
Or perhaps sometimes it's even the sleight of the camera, a stand - in for the tangible male gaze, as we watch the sway of hips from behind float sinuously in a floral qipao worn by Maggie Cheung in Wong Kar - wai's masterpiece In The Mood For Love.
Wong Kar - wai: And the Winner is... An interview with Wong at the time of In the Mood for Love's Cannes prize for best actor.
BOMB Magazine: Wong Kar - wai by Liza Bear Interview with Wong upon the release of In the Mood for Love.
Wong Kar - wai Worldwide The definitive Wong website!
Wong Kar - wai — Charisma Express A page written by Tony Rayns as part of Sight and Sound's Innovators 1990 - 2000.
In Wong's own words, his films represent explorations in which «Wong Kar - wai, the director, managed to add something into the work».
Love and Bullets — Wong Kar - wai Click on the posters of Fallen Angels and Happy Together to read the DVD reviews.
Ways of Seeing Wild: The Cinema of Wong Kar - wai Lengthy, scholarly essay by Robert M. Payne exploring Wong's place in Hong Kong cinema.
For a film mainly guided, stylistically, by feeling more than by thought, Wong Kar - wai's In the Mood for Love opens rather pragmatically: A simple exchange in an apartment hallway between a landlord and her two prospective tenants, Mrs. Chan (Maggie Cheung) and Mr. Chow (Tony Leung Chiu Wai), introduces the principal elements of what is, in essence, a straightforward story of star - crossed lovers and their unconsummated relationship — a romance thwarted as much by tragic circumstance as by the story's central cinematic contrivance.
A smoldering love story unlike any other, Wong Kar - wai's In the Mood for Love remains one of the very best films of the 2000s.
Zhang and Gong broke up; Gong tried Hollywood («Chinese Box,» «Miami Vice») and worked with Wong Kar - wai; Zhang turned to Zhang Ziyi for his films; and the Chinese film market has undergone a sea change.
(4) Tam's interest in themes of dislocation and alienation can be identified in the work of his protégé Wong Kar - wai.
Chow Yun - fat, at this time the biggest star in the colony, hot off the smashing success of A Better Tomorrow, plays the middle brother while pop star Jacky Cheung, himself on the road to a successful film career (he'd win the Supporting Actor Hong Kong Film Award this year for his work in Wong Kar - wai's debut feature As Tears Go By), plays the youngest.
Wong Kar - wai: Time, Memory, Identity An essay by Toh Hai Leong exploring these themes in Wong's first four films.
Plus, the two films make total sense as a double - bill, both of them playful, youthful riffs on the mystery genre: where Chen's frisky, jewel - toned romantic caper comedy prompts thoughts of Stanley Donen dancing with Wong Kar - wai, Katz quietly clothes the ghosts of Raymond Chandler and Arthur Conan Doyle in dirty jeans and doleful wit.
Martinez, D., «Chasing the Metaphysical Express» Wong Kar - wai.
The BFI ruminates on ten masterful portraits of loneliness, including Yasujiro Ozu's Late Spring, David Lean's Summertime, Rainer Werner Fassbinder's Ali: Fear Eats the Soul, and Wong Kar - wai's Chungking Express.
Wong Kar - wai at the End of Time Asian Media Access» page on Wong's films, including information on Final Victory, Patrick Tam's version of Wong's self described best screenplay.
Holes in the Wall: Wong Kar - wai and the Architecture of Absence Review of In the Mood for Love by Charles Mudede.
Wong Kar - wai is undeniably an auteur of striking and salient cinema, standing apart from much mainstream Hong Kong cinema.
Ngai, J & Wong Kar - wai., «A Dialogue with Wong Kar - wai.