Day 2 - I love. . . Wong Kar Wai's movies

The weather this morning was particularly gloomy, with dark clouds, like it was going to rain. So I decided to go for a walk before writing. I love the loneliness that cloudy days bring. The atmosphere made me fantasize about being a character in a Wong Kar Wai movie, listening to old music: Things in life - Dennis Brown, typing a paragraph to a writing machine.

From the age of 12, I would regularly buy the magazine "Watching Movies". I especially enjoy reading reviews of non-mainstream literary films. There was also an online forum for Watching the Movie at the time, and I remember being particularly drawn to reading those posts. Because of this magazine, I got to know Wong Kar-wai and watched "In the Mood for Love" and "Dong Evil and West Poison". Although I couldn't understand it a bit, I especially liked the atmosphere created by Wong Kar-wai's photography and soundtrack. When I was 13 or 14 years old, I especially aspired to be a young literary artist. The peers I knew at the time didn't have the same hobbies. Wong Kar Wai's films have had a huge impact on my aesthetics and values of love. He made me realize that only an artistic life is worth living.

In high school, I watched Wong Kar-wai's major works, "Chongqing Forest", "Breakthrough", "The True Story of Ah Fei", and "2046". I remember that the love presented in these films is so subtle and subtle. The whole film uses music, film images, not too many lines, to present the feelings between people. I remember when Tony Leung and Leslie Cheung danced tango in the kitchen together in "Happy Birthday", it broke my heart. The whole picture was beautiful and sad.

When I was in college, I took a course on Chinese film studies and transnationalism. The course was three and a half weeks long, and each day we would watch a film, write reviews, read articles, and discuss for three hours a day. We watched "In the Mood for Love". At that time, because of the richer knowledge of film studies, I also conducted a deeper discussion on the plot and shooting techniques. After watching this film again, I really understood why Wong Kar-wai is a master.

I wrote a dissertation for this course on the sense of belonging and identity crisis in Hong Kong presented in "Breakthrough", "The True Story of Ah Fei" and "Chongqing Forest". I watched Wong Kar-wai's films before and didn't know that his films had political interpretations, but when I rewatched Wong Kar-wai's films several times, I found that Wong Kar-wai creatively responded to the meaning of Hong Kong's return in 1997 in an artistic way.

For me, Wong Kar Wai symbolizes the pinnacle of Chinese film history. I don't know of any filmmaker today who can present such an evocative work.