Days of Being Wild

Written and directed by Wong Kar-Wai, Days of Being Wild is the story of a notorious playboy who tries to find his identity while dealing with his own romantic entanglements as those women seek solace in other men. The film is the first part of an informal trilogy that would be followed by 2000’s In the Mood for Love and 2004’s 2046 that explores the idea of love and loneliness as it’s all set in 1960s Hong Kong. Starring Leslie Cheung, Andy Lau, Maggie Cheung, Carina Lau, Jacky Cheung, Tony Leung Chiu-Wai, and Rebecca Pan. Days of Being Wild is a ravishing yet captivating film from Wong Kar-Wai.

The film is a multi-layered story that revolves the lives of a cruel playboy whose entanglements with two different women has them feel hurt while the playboy goes on a journey of his own to find out his true identity when the escort who had raised him told him about his true parentage. It’s a film that explores the idea of rejection and loneliness all in the world of his playboy named York (Leslie Cheung) who likes to wander around in the many situations he’s in where he woos a woman and then moves on to something else. For the two women he woos in Su Li Zhen (Maggie Cheung) and Mimi (Carina Lau), both of them go into different journeys after the rejection where Zhen talks to a cop named Tide (Andy Lau) while Mimi is being pursued by York’s friend Zeb (Jacky Cheung). York would also go into his journey to find his real mother as his relationship with his guardian in the aging escort Rebecca (Rebecca Pan) starts to disintegrate.

Wong Kar-Wai’s script has this very unique narrative where it doesn’t follow any conventional narratives where its first act is about York’s antics with Su Li Zhen and later his affair with Mimi. The second act is about Zhen meeting Tide where the latter is just a beat cop doing his job as Zhen just talks to him where the two become friends for a while. The second act also plays into the tumultuous relationship between York and Mimi where it’s filled with a lot of indifference from York who is more concerned about his adopted mother’s life with another man and her desire to move to the U.S. It all plays to this third act where York travels to the Philippines to find his biological mother but he would endure the similar kind of pain Zhen and Mimi endured but in very different ways.

Kar-Wai would add bits of voice-over narration to express the loneliness the characters face. Especially where York keeps talking about a bird that just flies continuously only to land when it dies which serves as a metaphor for the life he’s leading. A life that is often quite empty where he would meet a major character in the film’s third act who witnesses the emptiness of York’s life up close. The third act would also play into a lot of ambiguities over the fate of these characters including an unnamed gambler (Tony Leung Chiu-Wai) who appears at the end of the film.

Kar-Wai’s direction is truly evocative in the way he presents life in 1960s Hong Kong where it’s a world that is quite exciting. Going for a hand-held style that is quite loose but also with a sense of control, it plays to this sense of change that is occurring in the 1960s where the attitudes of men start to lose its way a bit as the two women that York encounters would both deal with tribulations over the fallout of their relationship with him. Zhen and Mimi would have similar reactions to the way they were rejected by York as Kar-Wai’s compositions shows them in very fragile moments where the framing is very succinct with very little emphasis on close-ups in favor of wide and medium shots. Even where the two women would meet two men who were willing to help as it plays into how they would react to this gesture.

The direction also has Kar-Wai take great care into the way he presents not just Hong Kong but also the Philippines as it has this air of style that is seductive in its imagery. While much of the Hong Kong presentation is a bit dreary with some unique palettes to convey a mood, there is something about the scenes in the Philippines that is more dream-like but also off in some ways where York would encounter elements of danger. Notably as Kar-Wai would utilize some strange camera angles to present something that is a bit surreal but also grounded in the way York had lived his life. Yet, it is followed by an ending that is described as ambiguous but also something where things are changing over everything that the characters in the film have endured. Overall, Kar-Wai crafts a very abstract yet intoxicating film about rejection and loneliness.

Cinematographer Christopher Doyle does phenomenal work with the film‘s cinematography with its use of grainy colored palettes and dark lighting schemes for some of the film‘s interior scenes along with its emphasis on the color green to play with its mood as Doyle‘s work is truly a major highlight of the film. Editors Kit-Wai Kan, Patrick Tam, and William Chang do fantastic work with the editing where it is quite straightforward in its presentation while they do create a few montages and some rhythmic moments for some of the film‘s darker moments. Production/costume designer William Chang does amazing work with the look of the apartments and such for the scenes set in Hong Kong and in the Philippines along with some of the clothes that Mimi wears to play into her exotic style.

Sound recorder Benny Chu does excellent work with the sound to convey some of the intimacy that goes on in some of the scenes along with the craziness and textures into the sense of longing that occurs. The film’s music by Terry Chan is wonderful as it is mostly low-key with its orchestral-based music and jazz pieces while the soundtrack includes lots of jazz pieces as well as Latin-based cuts to play into the world that the characters live in.

The film’s cast is brilliant for the ensemble that includes some notable small appearances from Tita Munoz as York’s mother, Danilo Antunes as Rebecca’s mother, and Tony Leung Chiu-Wai as the unnamed gambler at the end of the film. Jacky Cheung is excellent as York’s friend Zeb who helps York go to the Philippines while trying to woo Mimi. Rebecca Pan is wonderful as York’s adopted mother Rebecca who seems to despise him for wanting to find the truth of his real parentage while also being someone who feels like she’s got nothing more to give. Carina Lau is amazing as Mimi who is also called Lulu and Leung Fung-ying as this woman who falls for York only to feel jealous over his other affairs as she starts to fall apart. Andy Lau is fantastic as the policeman Tide who befriends Su Li Zhen as he listens to her troubles while offering to be someone to talk to as he laments over his feelings for her.

Maggie Cheung is superb as the shy and melancholic Su Li Zhen as a woman whose encounter with York has her feeling hurt and alone while she tries to figure out how to move on. Finally, there’s Leslie Cheung in a phenomenal performance as York as this cruel playboy who likes to play around with women while trying to find out about his roots as he’s also a man who wanders into every situation he’s in no matter how foolish it can be.

Days of Being Wild is a seductive yet gorgeous film from Wong Kar-Wai. Armed with a great cast, lush visuals, and a rapturous film soundtrack, the film is truly one of Kar-Wai’s finest work in terms of what he’s all about in his exploration of love and loneliness. Especially in the way he delves into the themes of rejection and wandering through life in its most poetic manner. In the end, Days of Being Wild is a sensational film from Wong Kar-Wai.

Wong Kar-Wai Films: As Tears Go By - Chungking Express - Ashes of Time/Ashes of Time Redux - Fallen Angels - Happy Together - In the Mood for Love - 2046 - Eros-The Hand - My Blueberry Nights - The Grandmaster - The Auteurs #28: Wong Kar-Wai

© thevoid99 2013

As Tears Go By

Directed by Wong Kar-Wai and written by Kar-Wai and Jeffrey Lau, As Tears Go By is the story about a small-time gangster trying to go straight while keeping his friend out of trouble as the visit from his young cousin also complicate things. The film is a gangster film of sorts that mixes Kar-Wai’s romanticism that would be prevalent in his later films. Starring Andy Lau, Maggie Cheung, and Jacky Cheung. As Tears Go By is a brilliantly stylish crime-drama from Wong Kar-Wai.

The film is a simple story about a small-time gangster who takes in his second-cousin to stay at his place where he falls for her while dealing with the chaos his best friend has created against rival factions. It’s a film that recalls elements of Martin Scorsese’s 1973 film Mean Streets that has a similar premise about a small-time hoodlum wanting to go straight while trying to get his friend out of trouble. Yet, Wong Kar-Wai infuses that premise with something much more as the character of Wah (Andy Lau) is dealing with his role as a hoodlum who works for the biggest boss of Hong Kong in Uncle Kwan (Ching Wai) while the arrival of his second-cousin Ngor (Maggie Cheung) has him thinking about a life out of that world. Still, he is devoted to his best friend Fly (Jacky Cheung) who is eager to make a name for himself but manages to cause trouble as well as conflict with another small-time hoodlum in Tony (Alex Man).

The script by Kar-Wai and Jeffrey Lau does have a lot of typical aspects that is expected in the crime drama where it is about these small-time hoods trying to climb up the ranks so they can lead their own gang and become a top boss. Wah doesn’t have that ambition as he just wants to do his job and get paid but his friendship with Fly causes issues as Fly has the ambition but not the professionalism to do so. Especially when Uncle Kwan is looking for someone to do a big job in killing an informant so that he wouldn’t go to prison. Wah’s encounter with Ngor has him wanting to leave the life as he becomes aware of how fleeting it is as the time he has with Ngor becomes far more fulfilling. Yet, he becomes conflicted with his love for Ngor and his devotion to Fly that would lead to some trouble consequences.

Kar-Wai’s direction is definitely full of style from the way he presents some of the film’s violent moments but also finds something that is entrancing in the way it plays out. Notably as he plays with frame-speeds to create some intense moments while adding a sense of flair to the way some of the violent moments and the meetings between hoods and bosses happen. Kar-Wai knows where to place the camera in these moments while creating something that is loose and also unpredictable in the way the violence occurs. Kar-Wai would add something similar to the romantic elements of the film where it is played with these gorgeous images and compositions where there’s bit of humor but it is largely romantic. Though it is sort of uneven in tone, Kar-Wai does find way to play into that conflict that Wah has to deal with that does lead to this very intense climax about what he has to do for himself. Overall, Kar-Wai crafts a very sensational yet ravishing film about a man trying to leave behind his life of crime.

Cinematographer Wai-keung Lau does amazing work with the film‘s colorful cinematography that plays into Kar-Wai‘s visual style with its vibrant colors for some of the exterior scenes at night as well as its use of lighting for some of the interior scenes. Editors William Chang and Bei-Dak Cheong do fantastic work with the editing with its use of jump-cuts and frame-speeds that would also play into Kar-Wai‘s presentation while Chang also does the production design for some of the clubs the characters go to as well as homes that Wah and Ngor live in. The film’s music by Danny Chung and Teddy Robin Kwan is excellent for its mixture of moody synthesizer-based music with some raucous guitar tones for some of the suspense while its soundtrack includes a lot of Asian pop music of the time that includes an effective cover of Berlin’s Take My Breath Away.

The film’s superb cast includes some notable small roles from Ching Wai as triad leader Uncle Kwan, production designer/co-editor William Chang as a doctor friend of Ngor, and Ronald Wong as Fly’s protégé Site whose encounters with Fly’s troubles has him wanting to leave the life for something normal. Alex Man is terrific as the very antagonistic hoodlum Tony who likes to goad Fly into fighting while maintaining his status as a hoodlum who is eager to be next in line as top boss. Jacky Cheung is fantastic as Fly as he is someone full of energy as this small-time hood eager to make a name for himself as Cheung is fun to watch as it would include some moments where he deals with humility.

Maggie Cheung is just radiant as Ngor as this young woman who arrives to Wah’s home to stay for a few days for a medical checkup as she has this understated quality to someone who could steer Wah into something more as it’s definitely one of her finest. Finally, there’s Andy Lau in a marvelous performance as Wah as this very reserved yet dangerous man who deals with the bleakness of his future as he’s also conflicted into helping Fly or go into a far more safer life with Ngor where he and Cheung definitely have some chemistry as they’re one of the film’s major highlights.

As Tears Go By is a remarkable debut film from Wong Kar-Wai that is highlighted by the incredible performances of Andy Lau, Maggie Cheung, and Jacky Cheung. While it is a bit uneven in its tone, the film is still an engaging one for its evocative imagery and its unique approach to crime and drama. Especially in the way Kar-Wai would match all sorts of things like music and image to create something special. In the end, As Tears Go By is a rapturous film from Wong Kar-Wai.

Wong Kar-Wai Films: Days of Being Wild - Chungking Express - Ashes of Time/Ashes of Time Redux - Fallen Angels - Happy Together - In the Mood for Love - 2046 - Eros-The Hand - My Blueberry Nights - The Grandmaster - The Auteurs #28: Wong Kar-Wai

© thevoid99 2013

Ashes of Time/Ashes of Time Redux

After two feature films, Wong Kar-Wai was emerging as a new voice in Hong Kong cinema who was making films that weren’t the traditional martial arts or crime films of the time. Instead, Kar-Wai stood out as he was making the kind of films that related more to the world of European cinema than the world of his native Hong Kong. For his next feature, Kar-Wai decided to enter the world of the martial arts epic known as wuxia by adapting Louis Cha’s novel The Legend of the Condor Heroes. With getting a cast of some of Asian cinema’s finest actors, the project entitled Ashes of Time wouldn’t just be his most ambitious project to date. It would also become his most complicated and troubled production of his burgeoning career at that time.

The production for Ashes of Time dragged for a year as it went over-budget and over-scheduled largely due to Kar-Wai’s insistence of working without a script. The headaches of the ambitious production shot on location in mainland China’s desert proved to be overwhelming. After shooting completed, Kar-Wai took a break to work on another project that would become Chungking Express as it was released in early 1994. While working on another project that would become Fallen Angels, Kar-Wai went to work on editing and finishing Ashes of Time for its release in the fall of 1994.

The film would received mixed reviews as it also became a box office failure where the film disappeared for years as Kar-Wai’s cult began to grow internationally. Even as audiences became interested in Ashes of Time where the film was shown but in different versions. In 2003, Kar-Wai along with his longtime cinematographer Christopher Doyle and longtime editor/art director William Chang to create a re-assembled version of the film with copies of the film from China and France to be their source since the original negatives were in bad shape.

Another problem for the re-assembled version wasn’t just color-correcting the film but also creating a new score since the soundtrack was heavily-damaged to re-record. With the help of Yo-Yo Ma in creating new cello solos based on Wu Tong’s new arrangements. A new score along with pieces from the original score was re-created for the new assembled version that would be called Ashes of Time Redux.

Written for the screen and directed by Wong Kar-Wai. Ashes of Time (Dung che sai duk) tells the story of a heartbroken swordsman who serves as a middleman between bounty hunters and those seeking help. Along the way, the swordsmen deal with individuals who want revenge on bandits or siblings while he also deals with his own past and regrets. Part wuxia film and part drama, it’s a film that would broaden the wuxia genre as it would help set the course of other films of that genre such as Ang Lee’s Crouching Tiger, Hidden Dragon and the recent films of Zhang Yimou. Featuring choreography from legendary martial arts star Sammo Hung, the film stars such Kar-Wai regulars Leslie Cheung, Brigitte Lin, Tony Leung Chiu-Wai, Carina Lau, and Maggie Cheung along with Tony Leung Ka-Fai, Charlie Yeung, and Jacky Cheung. Ashes of Time/Ashes of Time Redux is a hypnotic yet mesmerizing film from Wong Kar-Wai.

(Note: The following plot description and film analysis is based on the Redux version of the film)

Living alone in the desert as a middleman for bounty hunters and its customers, Ouyang Feng (Leslie Cheung) is a man filled with cynicism as he only cares about making money no matter what side he’s on. It’s spring as one of Feng’s bounty hunters named Huang Yaoshi (Tony Leung Ka-Fai) has arrived for his yearly visit but with a bottle of wine this time. Yaoshi talks about a woman (Carina Lau) he’s fallen for as he learns he’s the wife another bounty hunter (Tony Leung Chiu-Wai). Yet, Yaoshi is in trouble with that bounty hunter as he was an old friend. The problem is that Yaoshi is losing his memory while the other bounty hunter is going blind.

Returning to his home, Yaoshi has an encounter with a drunk yet masterful swordsman named Murong (Brigitte Lin) as a fight ensues. Later, Murong hires Feng to have someone kill the man going after her sister. Feng meanwhile, gets an offer from Murong’s sister to kill her brother as Feng realizes that something isn‘t right as he believes they could be the same person. It’s summer as a young woman (Charlie Yeung) offers her mule and eggs to Feng to find a bounty hunter to fight off some bandits. Feng refuses the offer as the blind swordsman arrives to talk about Yaoshi as he is thinking of taking the young woman’s offer to fight off the bandits.

Yet, the bandits continue to become a threat as another bounty hunter named Hong Quiong (Jacky Cheung) decides to fight them. While he’s a man known for simple things and has a way of handling business. Something is off as Hong gets himself injured as Feng believes that the woman with the eggs and mule is a curse. Hong however, thinks the opposite as he decides to leave with his wife (Li Bai) as Feng becomes haunted by the memories of his former flame (Maggie Cheung) who had already married his brother. Feng meanwhile learns why Yaoshi has come to the desert every year as he waits for the next spring for Yaoshi to arrive.

While the film’s complex story takes place in the span of a year, its loose structure in placing the film on its seasonal settings gives way to an epic that isn’t like anything else. While at times, the pacing lags a bit in a few scenes. It’s a film that is really about a man whose lack of morals about hiring bounty hunters to do their jobs would only have him face his own regrets and mistakes that he’s made in the past. A lot of the story is told from Feng’s perspective in the narration as he reflects on his own past and hopes of attaining glory while looking on at his bounty hunters. Each have their own story to tell through a bit of their own narration as they all deal with their own issues and moral conflict.

The looseness of the story is attributed to Kar-Wai not using a script as his direction of the film is truly mesmerizing. Particularly shooting on location at the desert where he goes for a huge, epic feel. Kar-Wai definitely displays grand visuals for many of the film’s deserts and battle scenes with help from Sammo Hung’s choreography in the fights. Yet, he maintains a sense of intimacy for some of the non-action, dramatic scenes while creating gorgeous shots filled with landscapes being exploded along with a shot of water gushing from a lake. In many ways, it’s a dream-like film of sorts with lush images of water and landscapes set in a rough desert. Yet, it has all of the touches of a Kar-Wai film where despite a few flaws in the story.

Longtime Kar-Wai collaborator Christopher Doyle brings a gorgeous yet hypnotic look to the film’s cinematography. Shot with grainy film stock, Doyle’s photography maintains a gritty look to the film, notably the fight scenes. For the scenes in the jungle, there’s a lush feel with its mesh of green, white, and other colors. A lot of Doyle’s photography plays to a lot of the work he’s done with Kar-Wai as it’s definitely one of the film’s technical highlights.

Another Kar-Wai collaborator in William Chang does a lot of excellent work to the film’s art direction, costume design, and editing. The look of the homes and places that the characters encounter have a decayed film with the exception of the home of Feng’s former lover that is grand yet intimate. The costume design is also exquisite with the ragged robes the men wear and the gorgeous ones that Maggie Cheung wears for her character. In the editing, Chang along with Patrick Tam and Kit-Wai Kai bring a fluid yet mesmerizing editing style that is filled with shimmering speeds for some of the film’s action and dramatic scenes that is a trademark of Kar-Wai’s work. Even as its stylized approach help move the action scenes while the film does a lag a bit in a few places, notably in the first act.

Sound designer Robert MacKenzie and sound editor Nopawat Likitwong do some very good with the film’s sound in creating collages for some of the dramatic action scenes or something intense in more intimate fight scenes. The music of Frankie Chan and Roel A. Garcia (with additional music and re-arrangements by Wu Tong in the Redux version) is wonderful for its bombastic pieces for some of the film’s action scenes along with more soothing pieces that includes some cello solos from Yo-Yo Ma (in the Redux version) for the closing pieces of the film.

The cast is definitely phenomenal with a small appearance from Li Bai as Hong Quiong’s wife along with Maggie Cheung in a small but pivotal appearance as Feng’s ex-love as she brings a radiance that isn’t seen much on film. Carina Lau is very good as the wife of the blind swordsman who becomes the object of affection for Yaoshi. Brigitte Lin is excellent in the role of Murong, a woman disguised as a master swordsman who is intent on seeking war against her sister’s lover. Jacky Cheung is great as Hong Quiong, a master swordsman with simple ideals as his encounter with a young woman makes him re-think about the ways of being a bounty hunter.

Charlie Yeung is wonderful as the young woman who tries to make an offer to Feng with just a basket full of eggs and a mule as she ends up playing a major role in affecting the lives of the bounty hunters. Tony Leung Ka-Fai is brilliant as Yaoshi, a bounty hunter who meets Feng yearly as he is dealing with own issues while losing his memory as he carries a secret that would later impact Feng. Tony Leung Chiu-Wai is superb as the blind swordsman who is dealing with his sudden blindness as well as the appearance of the young woman who asks for help.

Finally, there’s the late Leslie Cheung as Ouyang Feng. A middleman between the bounty hunters and its customers who is trying to deal with regrets and other issues while maintain his role as an outsider. Cheung’s performance is definitely marvelous to watch as a man who is filled with snide cynicism about the ways of the world as he tries to hide his own past. Even in the way he’s restrained throughout while showing that he can be a badass in the few fight scenes he has. It’s definitely one of Cheung’s finest roles of his great career.

(Note: The Following 3 Paragraphs is a compare/contrast about the original Ashes of Time and its Redux version)

In the original Ashes of Time, the film opens with a intense, fast-paced battle scene where Feng fights a bunch of bandits in an epic, sprawling battle that is meant to introduce him. That sequence is cut from the Redux version along with details about Yaoshi that is spoken though the subtitles are improved in the Redux. Also cut are little details and introduction as the material is added in the Redux are the breaks for the seasons as well as additional scenes that are essentially second unit shots of water and skies.

Since the original version (that can be found online) is in such bad condition, the cinematography is brighter and much rougher while the pacing in the original is a bit more ragged where it lags the story more than in the Redux. Other things that the Redux does in order to bring a better visual feel to the film are the visual effects. The BUF visual effects team add a few things to the film including a scene of flies flying up from a lake.

Another major sequence that is cut from the original is another battle scene at the end of the film involving Feng, Murong, Hong Quong, and Yaoshi that is as intense and stylized. It’s understandable why Kar-Wai cut some of the sequences not only to improve the pacing of the film but also clarify things in the story. Another notable thing that is prevalent in the original that was forced to be re-done for the Redux version is the score by Frankie Chan and Roel A. Garcia that is more dramatic in the original. While the score in the original is slightly better than the one in the Redux, the Redux version is a better film in terms of visuals and in storytelling despite the plot’s complexity.

The 2009 Region 1 DVD from Sony Pictures Classics presents Ashes of Time Redux in its theatrical anamorphic widescreen aspect ratio of 1:78:1 with Dolby Digital for Cantonese and 5.1 for French with English subtitles. Among the special features that appears in the DVD is a 42-minute Q&A with Wong Kar-Wai held by The Village Voice film critic J. Hoberman. The interview has Kar-Wai talk about the production and why it took five years to restore, re-cut, and re-do Ashes of Time.

Kar-Wai revealed that because of the economic crisis in Asia in the late 1990s, the warehouse that stored all of the negative prints of his films and many others were to be destroyed. Kar-Wai managed to save his films as did many others where he found that the negative of Ashes of Time was in very bad shape. Thanks to copies that circulated in France and other places, Kar-Wai and his team were able to do work on the restoration which proved to be tough. Even as he told Hoberman about having to make some changes in order to improve things though he knew that not everyone would like it though the original version of the film remains in bad shape. Even as they had to remix and re-do some sound and dialogue (some of which proved to be very difficult due to Leslie Cheung’s suicide in 2003).

Kar-Wai also talked about his collaboration with William Chang and Christopher Doyle. The latter of which, he reveals about Doyle’s personality and how he takes his work seriously as a cinematographer. Even as they often have clashes, notably in In the Mood for Love as Kar-Wai didn’t want hand-held and Doyle did. Kar-Wai also talks about his approach to writing as he does write screenplays but he only uses it as a guide into what he wants since he finds the film when shooting.

The 14-minute Born From Ashes: The Making of Ashes of Time Redux is a special that features rare behind-the-scenes footage of the making of the original film. Featuring interviews with Wong Kar-Wai, Tony Leung Chiu-Wai, Charlie Yeung, Carina Lau, Sammo Hung, and Christopher Doyle. The actors talked about making the film and revealed how difficult it was in just shooting there while Hung talked about how Kar-Wai was able to do something different from the typical martial arts films that were being made at the time. Even as everyone (with the exception of Hung) is interviewed at the 2008 Cannes Film Festival where they’re promoting Ashes of Time Redux as they talked about how great it is to have the film finally come out at Cannes to an audience that wants to see it.

The trailer for Ashes of Time Redux appears in the DVD along with trailers for films like Synecdoche, New York, Rachel Getting Married, Adoration, Kung Fu Hustle, and Waltz with Bashir. It’s definitely a DVD that fans of Kar-Wai must have in their collection.

Ashes of Time/Ashes of Time Redux is an excellent yet spectacular film from Wong Kar-Wai featuring a great ensemble led by the late Leslie Cheung. Fans of Kar-Wai will no doubt want to see this though they will probably be dismayed by the changes Kar-Wai made for this new version. Audiences new to Kar-Wai should see other films like In the Mood for Love and Chungking Express before seeing this one. Notably the Redux version which is more preferred due to its remastered look and a clearer plot. In the end, Ashes of Time/Ashes of Time Redux is a marvelous yet stylish film from Wong Kar-Wai and company.

Wong Kar-Wai Films: As Tears Go By - Days of Being Wild - Chungking Express - Fallen Angels - Happy Together - In the Mood for Love - 2046 - Eros-The Hand - My Blueberry Nights - The Grandmaster - The Auteurs #28: Wong Kar-Wai

© thevoid99 2011