Nothing lasts forever in the world of Wong Kar-wai. Not countries, not relationships, not cans of pineapples. “Like Hong Kong,” filmmaker Olivier Assayas observed in a speech honoring Wong at the 2017 Lumiere Film Festival:
Wong’s cinema is built upon the ephemeral: the ephemeral nature of exile coupled with the ephemeral identity and existence of a city set on the edge of a precipice, living in a constant state of uncertainty at the mercy of mainland China, which could swallow it any moment and wipe out everything it has built, from one day to the next. This is a fleeting world of which Wong has preserved fragments, conscious of cinema’s mysterious ability to freeze time and bear witness to that which other arts cannot capture.
In the context of such a slippery body of work, it’s a strange feeling to actually hold the Criterion Collection’s astonishing new...
Wong’s cinema is built upon the ephemeral: the ephemeral nature of exile coupled with the ephemeral identity and existence of a city set on the edge of a precipice, living in a constant state of uncertainty at the mercy of mainland China, which could swallow it any moment and wipe out everything it has built, from one day to the next. This is a fleeting world of which Wong has preserved fragments, conscious of cinema’s mysterious ability to freeze time and bear witness to that which other arts cannot capture.
In the context of such a slippery body of work, it’s a strange feeling to actually hold the Criterion Collection’s astonishing new...
- 3/24/2021
- by David Ehrlich
- Indiewire
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