Kar wai wong biography of martin

THE WORLD OF WONG KAR WAI

With his sensual visuals, atmospheric soundtracks, and soulful romanticism, Wong Kar Wai has established himself as one of the defining auteurs of contemporary cinema; filled with passion, heartbreak, obsession, and the memories left in their wake, his films are internationally celebrated for their unique style. 

In , after several years as a jobbing screenwriter, Wong helmed his first feature, As Tears Go By, a mob drama in the vein of Scorsese’s Mean Streets that proved a critical and commercial success in Hong Kong, though he would not achieve international acclaim until the release of ’s Chungking Express, made during a hiatus in postproduction on Days of Being Wild (), his second feature. Wong capitalised on the recognition with the stylish, ultra-cool Fallen Angels (), and the searingly romantic Happy Together () before making In the Mood for Love (), perhaps his most beloved work, which was recently voted fifth best film of all time in Sight & Sound’s decennial poll of critics, programmers, and filmmakers.   

Joined by key collaborators such as cinematographer Christopher Doyle, and actors Tony Leung and Maggie Cheung, Wong

Kar-Wai Wong

Kar-wai Wong (China, ) debuted with Wong Gok Ka Moon/ As Tears Go By ().

Abandoning the linear narrative structure, A Fei Jingjyuhn/ Days of Being Wild (), his first collaboration with Australian cinematographer Christopher Doyle, is a rambling one-man odyssey whose characters are all obsessed with love or the negation of love in all its forms, whether erotic, filial or friendly. It hints an entire nation that searches for love while trying not to fall in love. Sex is a curse that makes everybody unhappy. There are clocks everywhere (almost a fetishistic obsession with time keeping), and the story takes place in desolate environments: people don't change, the landscape does not change, time keeps flowing senselessly. The style oscillates from film noir to soap opera, from documentary to expressionist. Several narrating voices pop up during the film, usually just to represent someone's stream of consciousness. Doyle's cinematography would define Hong Kong cinema for an entire generation.

Dung che sai duk/ Ashes of Time (), reedited years later, is the satori of Chris Doyle's cinematography. The film is a container of interconnected stories borr

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