WKW : The Cinema of Wong Kar Wai

If you have participated in the prosperity of Hong Kong when your memory is wet, you will probably understand the relationship between one minute and friendship. You believe that canned pineapple has a meaning beyond food. In addition to directly revisiting the film, there is another way to experience Wong Kar-wai's world. The internationally renowned film director has finally released the much-anticipated retrospective "WKW: The Cinema of Wong Kar Wai", which builds a tunnel with rich text and photography, leading movie fans into the other side of the big screen.

Wong Kar-wai's films always use full and moist images to set off poetic dialogues, talking about love, longing and longing, and of course the heaviness of memory; those strong emotions are easy to overwhelm people's hearts, and there is room for them to chew carefully and taste repeatedly. How profound. He has always been deeply fascinated by romantic style and unique charm. The similar propositions and style choices throughout his works also highlight the significance of a specific time and space to him.

In "WKW: The Cinema of Wong Kar Wei", which is about 300 pages thick, Wang Jiawei leads film critic and writer John Powers to visit various classic scenes, reviews 11 films before and after, and runs through the book with 6 long interviews; it contains more than 250 The images and stills become more three-dimensional through continuous dialogue, making people feel like they are actually in a Wong Kar-wai movie. Their conversation took place at six locations, including In the Mood for Love, the Canary Restaurant in 2046, and the Midnight Express snack bar where Chungking Express was filmed; the two discussed temporality, nostalgia and The indescribable beauty, and then clear the fog of the stream of consciousness, and get a glimpse of the root of the story in Wong Kar Wai's real life.

Founded in 1958, Wong Kar-san is known as a representative figure of Hong Kong contemporary film and is currently a judge for several international film awards. At first, he entered the film industry as a screenwriter. After directing his first film "Carmen in Mong Kok" in 1988, he successively produced works such as "Days of Being Wild", "Evil and Poison", "Fallen Angels", and "The Grandmaster". The style has led to various studies and numerous awards, including the Best Director Award at the Cannes Film Festival and the Hong Kong Film Awards.

John Powers, the author and interviewer of this book, has written film reviews and political columns for "Vogue" and "LA Weekly". culture. Powers' work has been featured in a variety of outlets large and small, including Harper's, The Nation, Washington Post, The New York Times, and more.