Passport Series XV: World of Wong Kar Wai

Days of Being Wild

Opens Jan 2, 2021

Wong Kar Wai's breakthrough sophomore feature represents the first full flowering of his swooning signature style. The first film in a loosely connected, ongoing cycle that includes In the Mood for Love and 2046, this ravishing existential reverie is a dreamlike drift through the Hong Kong of the 1960s in which a band of wayward twenty-somethings — including a disaffected playboy (Leslie Cheung) searching for his birth mother, a lovelorn woman (Maggie Cheung) hopelessly enamored with him, and a policeman (Andy Lau) caught in the middle of their turbulent relationship — pull together and push apart in a cycle of frustrated desire. The director's inaugural collaboration with both cinematographer Christopher Doyle, who lends the film its gorgeously gauzy, hallucinatory texture, and actor Tony Leung, who appears briefly in a tantalizing teaser for a never-realized sequel, Days of Being Wild is an exhilarating first expression of Wong's trademark themes of time, longing, dislocation, and the restless search for human connection.

Days of Being Wild runs January 2-7 (with Chungking Express) and February 5-11 (with Fallen Angels)



PASSPORT XV: WORLD OF WONG KAR WAI

With his lush and sensual visuals, pitch-perfect soundtracks, and soulful romanticism, Hong Kong filmmaker Wong Kar Wai has established himself as one of the defining auteurs of contemporary cinema. Joined by such key collaborators as British cinematographer Christopher Doyle; editor and production and costume designer William Chang Suk Ping; and actors Tony Leung Chiu Wai and Maggie Cheung Man Yuk, Wong has written and directed films that have enraptured audiences and critics worldwide and inspired countless other filmmakers with their poetic moods and music, narrative and stylistic daring, and potent themes of alienation and memory. Whether they're tragically romantic, soaked in blood, or quirkily comedic, the seven films collected here are an invitation into the unique and wistful world of a deeply influential artist.


We present these films in concert with one another, both chronologically (over nearly two decades), and thematically, as the pieces play off of one another. Held together by a unified yearning for emotional connection, Wong's films span generations, as we ping-pong between a hazy nostalgia for the 1960s — Days of Being Wild, In the Mood for Love, and, for the first time in its original, extended cut, The Hand — and the turbulent nervous-energy of impending change in the 1990s (on the cusp of the 1997 handover of Hong Kong) — with the whiplash fever dreams of Chungking Express, Fallen Angels, and Happy Together.


Chungking Express, and In the Mood for Love provide the most potent points of entry as their influence is painted all over the last 15 years of cinema. It is Wong's debut feature, 1988's As Tears Go By, a hyper-cool, hard-boiled crime thriller, that best serves to bridge these two styles, while also sticking out as the black sheep of the oeuvre. Fallen Angels returns, however tangentially, to these same Hong Kong Noir roots, while simultaneously forming a singular, hallucinatory slapstick city-symphony and neon-nocturne. Happy Together finds its focus on a complex and empathetic queer relationship as stars Tony Leung and Leslie Cheung traverse Argentina in a shifting visual slate as In the Mood for Love-cinematographer, Christopher Doyle casts the film in stark monochrome and screaming color.


Ultimately, the world of Wong Kar Wai is a luscious, sketchy, digressive, exhilarating and intoxicating one — driven by a universal, tangible yearning for sincere connection.


Restorations provided by Janus Films.