Wong Kar- wai - Wikipedia. Wong Kar- wai, BBS (born 1. July 1. 95. 8) is a Hong Kong Second Wave filmmaker, internationally renowned as an auteur for his visually unique, highly stylized work, including As Tears Go By (1. Days of Being Wild (1. Ashes of Time (1. Chungking Express (1.
Fallen Angels (1. Happy Together (1. The Grandmaster (2. His film In the Mood for Love (2. Maggie Cheung and Tony Leung, notably garnered widespread critical acclaim.
Wong's films frequently feature protagonists who yearn for romance in the midst of a knowingly brief life and scenes that can often be described as sketchy, digressive, exhilarating, and containing vivid imagery. By the time Wong was five years old, the seeds of the Cultural Revolution were beginning to take effect in China and his parents decided to relocate to British- ruled Hong Kong.
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The two older children were meant to join them later, but the borders closed before they had a chance and Wong did not see his brother or sister again for ten years. Being an only child in a new city, and speaking only Mandarin, Wong has said he felt isolated during his childhood; he struggled to learn Cantonese and English, only becoming fluent in these new languages when he was a teenager. As a youth, Wong was frequently taken to the cinema by his mother and exposed to a variety of films. He later said: . After graduating, Wong was accepted onto a training course with the TVB television network, where he learned the processes of media production.
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He soon began a screenwriting career, firstly with TV series and soap operas, such as Don't Look Now (1. He worked as part of a team, contributing to a variety of genres including romance, comedy, thriller, and crime. Wong had little enthusiasm for these early projects, described by film scholar Gary Bettinson as . He is credited with ten screenplays between 1.
Wong spent two years co- writing the screenplay for Patrick Tam's action film Final Victory (1. Hong Kong Film Awards. Gangster films were popular at the time, in the wake of John Woo's highly- successful A Better Tomorrow (1. Wong decided to follow suit. The film, named As Tears Go By, tells the story of a conflicted youth who has to watch over his hot- headed friend.
His cast included what he considered some of . It was also a critical success, as several journalists named Wong among the .
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While it was a conventional crime film, critic David Bordwell said that Wong . I wanted to break the structure of the average Hong Kong film.
He was eager to make something more unusual, and the success of As Tears Go By made this possible. Developing a more personal project than his previous film, Wong picked the 1. There is no straightforward plot or obvious genre, but Stephen Teo sees it as a film about the .
Andy Lau, Maggie Cheung, and Jacky Cheung rejoined Wong for his second film, while Leslie Cheung was cast in the central role. Hired as cinematographer was Christopher Doyle, who became one of Wong's most important collaborators, photographing his next six films. With its popular stars, Days of Being Wild was expected to be a mainstream picture; instead it was a character piece, more concerned with mood and atmosphere than narrative.
Despite this, it won five Hong Kong Film Awards, and received some attention internationally. With its experimental narrative, expressive camerawork, and themes of lost time and love, Days of Being Wild is described by Brunette as the first typical . It has since gained a reputation as one of Hong Kong's finest releases. Its initial failure was disheartening for the director, and he could not gain funding for his next project – a planned sequel. In need of further backing, Wong accepted a studio's offer that he make a wuxia (ancient martial arts) film based on the popular novel The Legend of the Condor Heroes by Jin Yong. Filming began with another all- star cast: Leslie, Maggie, and Jacky Cheung returned alongside Brigitte Lin, Carina Lau, Charlie Young, and Tony Leung Chiu- wai .
It was a difficult production and the project was not completed for two years, at a cost of HK$4. Upon release in September 1. Film scholar Martha P.
Nochimson has called it . As such Ashes of Time was a commercial failure, but critics were generally appreciative of Wong's . The film won several local awards, and competed at the Venice Film Festival where Christopher Doyle won Best Cinematography.
He was in a negative state, feeling heavy pressure from his backers and worrying about another failure, and so decided to start a new project: . So I made Chungking Express, which I made like a student film. Wong was keen to experiment with . At the 1. 99. 5 Hong Kong Film Awards it was named Best Picture, and Wong received Best Director.
Stephen Schneider includes it in his book 1. Movies You Must See Before You Die with the summary: . Chungking had originally been conceived as three stories, but when time ran out Wong developed the third as a new project instead: Fallen Angels.
Although it contained new characters, Wong conceived both films as complementary studies of Hong Kong; he later said, . The loose plot again involves two distinct, subtly overlapping narratives, and is dominated by frantic visuals.
The film mostly occurs at night and explores the dark side of Hong Kong, which Wong planned intentionally to balance the sweetness of Chungking: . Upon release in September 1. Chungking Express and some complained that Wong had become self- indulgent. Film historians Zhang Yingjin and Xiao Zhiwei commented: . Its development was influenced by the Handover of Hong Kong from Britain to China, which occurred that year. Wong was widely expected to address the event in his next film; instead, he avoided the pressure by choosing to shoot in Argentina.
The issues of the Handover were nevertheless important: knowing that homosexuals in Hong Kong faced uncertainty after 1. Wong decided to focus on a relationship between two men. Wong decided to change the structure and style from his previous films, as he felt he had become predictable. After a difficult production period – where a six- week shoot was dragged out to four months – the film was released in May 1. It competed for the Palme d'Or at the Cannes Film Festival, where Wong became Hong Kong's first winner of the Best Director Award (an achievement he downplayed: . Several different titles and projects were planned by Wong before they evolved into the final result: a romantic melodrama set in 1. Hong Kong that is seen as an unofficial sequel to Days of Being Wild.
Teo writes that the film is a study of . Wong shot more than 3. Cannes premiere. At the festival, In the Mood For Love received the Technical Grand Prize and Best Actor for Leung. I am very proud of it.
Wong immediately continued with the project once In The Mood For Love was complete, reportedly becoming obsessed with it. In Bettinson's account, it .
His plans were vague and according to Teo, he set . Scenes were shot in Beijing, Shanghai, Hong Kong, Macau, and Bangkok. Actresses Zhang Ziyi and Gong Li were cast to play the women who consume Mo- wan, as the character plans a science fiction novel titled 2. The film premiered at the 2.
Cannes Film Festival, but Wong delivered the print 2. October release. It was Wong's most expensive and longest- running project to date. Hong Kong, but the majority of western critics gave it positive reviews. Wong's segment, titled . Although Eros was not well received, Wong's segment was often called the most successful. He decided to make an English- language film in America.
It’s a new background, so it’s refreshing. Cast as the figures she meets were Jude Law, Natalie Portman, Rachel Weisz and David Strathairn. Premiering in May 2. My Blueberry Nights was Wong's fourth consecutive film to compete for the Palme d'Or at Cannes. The idea had occurred to him in 1.
My Blueberry Nights. Three different versions of the film exist, as Wong shorted it from its domestic release for the 2. Berlin Film Festival, and again for its US distribution by the Weinstein Company. Details of the story are unknown.
High and low, new and old, and local and global are all thrown onto a blank canvas, one that assumes shape .. They were never labelled as such, and so he approached them equally and was broadly influenced. The energy of the Hong Kong films had a .
Some of his favorite contemporary filmmakers include Scorsese, Christopher Nolan, and Quentin Tarantino. Wong's most direct influence was his colleague Patrick Tam, who was an important mentor and likely inspired his use of colour. He has a particular affinity for Latin American writers, and the fragmentary nature of his films came primarily from the . The television channel MTV was a further influence on Wong. He said in 1. 99. It seemed like we should go in this direction.
As such, he writes as he shoots, . In advance, the cast are given a minimal plot outline and expected to develop their characters as they film. Wong similarly does not use storyboards or plan camera placement, preferring to experiment as he goes.
His shooting ratio is therefore very high, sometimes forty takes per scene, and production typically goes well over schedule and over budget. Tony Leung has commented that this approach is . In 2. 01. 3 he said, . Stephen Schneider writes that he deserves . Wong's other regular colleagues include writer- producer Jeffrey Lau, producer Jacky Pang, and assistant director Johnnie Kong. Wong often casts the same actors.
He is strongly associated with Tony Leung Chiu- wai, who has appeared in every film apart from As Tears Go By and My Blueberry Nights. Wong describes him as a partner, stating, . We don’t need meetings, talks, whatever, because a lot of things are understood. His general style is described by Stephen Teo as . Structurally, Wong's films are typically fragmented and disjointed, with little concern for linear narrative, and often with interconnected stories. Critics have commented on the lack of plot in his films, such as Ty Burr who says . Wong has commented on this, saying .