Synopsis
What a difference a day makes
Two melancholic Hong Kong policemen fall in love: one with a mysterious underworld figure, the other with a beautiful and ethereal server at a late-night restaurant he frequents.
1994 ‘重慶森林’ Directed by Wong Kar-wai
Two melancholic Hong Kong policemen fall in love: one with a mysterious underworld figure, the other with a beautiful and ethereal server at a late-night restaurant he frequents.
Чунгкінзький експрес, Το Δάσος του Chungking, Chung Hing sam lam, Chóngqìng Sēnlín, Hong Kong Express, 重庆森林, Чунгкингский экспресс, Hong Kong Ekspresi, Chung Hing Sam Lam, Чунгкинг Експрес, Chungking express, Csungking expressz, 중경삼림, Чунцінський експрес, Chungking ekspres, Amores Expressos, 恋する惑星, Trùng Khánh Sâm Lâm, ჩანგკინგ ექსპრესი, چانگکینگ اکسپرس, تشونج كينج إكسبريس, ผู้หญิงผมทอง ฟัดหัวใจให้โลกตะลึง
I love the stupidity of holding on to what has moved on.
I love the smallness of the biggest emotion we know.
I love the pain that doesn't seem to leave but you know somehow it will.
I love seeing love.
And I love how Wong Kar-Wai manages to capture all of the above and mold it into a piece of visual poetry, instilled with the melancholy, pain, joy, frivolity and promise our species' most powerful four letter word possesses.
Even in isolation, Wong Kar-Wai manages to find love in two completely different tales, that pass within 0,01 cm of each other briefly giving the other a glance of desperate recognition. Chungking Express is about our need for companionship, the…
I always love films about people feeling...lost. It reminds me of who I am. There's this feeling of trying to find a connection to something but there's a struggle as you don't know how to work that connection. That's what I think Wong Kar-Wai pulls off so well with this film. He creates these parallel stories of people who want to connect but are too lost to do anything about it. This is the true work of a master and I can already tell Wong Kar-Wai will be a great director to explore in the future. I kind of adore this movie if you haven't already realized.
all the leaves are brown ᵃˡˡ ᵗʰᵉ ˡᵉᵃᵛᵉˢ ᵃʳᵉ ᵇʳᵒʷⁿ
and the sky is grey ᵃⁿᵈ ᵗʰᵉ ˢᵏʸ ᶦˢ ᵍʳᵉʸ
I wanted to like it....so badly....but I didn’t care about anything that was happening.
I have this idea of "Shoegaze Cinema". It's filmmaking evocative of the same type of mood that music from bands like My Bloody Valentine created. This is exactly the sort of thing that comes to mind when I ponder the idea of that genre existing in cinema
"Actually, really knowing someone doesn't mean anything. People change. A person may like pineapple today and something else tomorrow."
Perfect movie, intimate but not claustrophobic, bittersweet but not sad, funny but not silly, beautiful but not pretty, ultimately, nothing more or less than what life feels like. All I could think of watching this how much an antidote it is to the "one perfect shot-ization" of modern, "indie" movies. There are so many perfect shots in this movie and none of them look like screen savers of big splendid vistas at magic hour, instead they're all of beer bottles, jukeboxes, fish tanks, and the quotidian and banal details that clutter the urban dreamscape infused with a deep emotional resonance.
"If…
I love movies where love feels like the most important thing in the world. No one encapsulates this feeling more perfectly than Wong Kar-Wai
this is not my beautiful house? this is not my beautiful towel? this is not my beautiful giant garfield?