![]() Not a single aspect of the film is spared from the seemingly ever-present heartbreak. The editing isn’t haphazardly cut it’s dreamlike, flowing in and out in a way that’s authoritative and challenging. The music for the scene isn’t tense it’s somber and strangely entrancing. ![]() In most other films, a criminal catching scene would go a bit differently. He Zhiwu (Takeshi Kaneshiro), a lovesick cop who serves as the focus for the first portion, waxes poetic about our obliviousness to the lives of the people we carelessly bump into on the street… as he’s rolling people over in an attempt to catch a criminal in the deliriously crowded streets of Hong Kong. The film hits the ground running, literally. It reaches for your hand, and for two hours, you’ll start to believe you can be romanced by a movie. The kaleidoscopic concrete jungle is impossibly inviting for the type of audience member who always feels that twinge of loneliness in the back of his mind and deep in his heart. It accesses the deepest parts of your being that you thought you shut out to the world. ![]() Wong Kar-Wai’s (possible) masterpiece is cinema of feeling. ![]() Chungking Express is a film that constantly dares you-and sometimes outright mocks you-to make sense of it. In this film, you enter it being one type of person and leave it a completely different one. Not of a new universe, but of the filmmaking variety. ![]()
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