Everything I know about cannes is from watching entourage LMAO
Thats funny, I dont really watch the show but I could imagine how it would go if they were at Cannes. Too bad I'm not plugged into that scene, it would've been nice to party like them.
I've never been to Cannes, but it would be cool. It seems Wong Kar-Wai has always made a point to get his films there. Have you seen any of his stuff? I'm a big fan of 2046, In the Mood for Love, Days of Being Wild...
I cant say I've even herd of him. I will check his films out later this evening though.
What style do he have?
That's a great question. The whole entire reason to watch a Wong Kar-Wai film is to immerse yourself into the experience he provides via his unclassifiable style which nobody could call anything else but the 'Wong Kar-Wai' style.
His movies are not nearly as simple as one might think upon the first viewing. Here's a quote from an essay written on Wong Kar-Wai which says it best:
"The first time you see Wong Kar-Wai’s movies, you feel you are watching the work of a delicious visual mannerist indifferent to narrative structure....The sheer hedonistic absorption in architectural surfaces, in light sources, in decor of every possible fabric and material, and the absence of overtly literary seriousness in the plots, make you feel trapped in the world of a super-talented hack. Then you go back and take another look, and the movies change, more drastically than any I know of. They seem richer, more intricately organised, more serious...."The above quote was taken from this essay:
http://www.ejumpcut.org/archive/jc44.2001/payne%20for%20site/wongkarwai1.html#paynep1Some notes on
Days of Being Wild:
"Wong Kar-wai creates a spare and elegant film on chance, fate, and unrequited longing in Days of Being Wild. Using a meticulously crafted mise-en-scene of damp streets, soaking summer rains, green reflected city lights, and saturated blue hues of the evening sky, Wong creates a pervasive, melancholic atmosphere to reflect each characters' wandering and sense of incompletion: Yuddy's elusive search for his biological mother; Su Lizhen and Fung-Ying's continued attachment to the emotionally vacuous Yuddy; the police officer's unresolved feelings for Su Lizhen; Zeb's devotion to Mimi. The indelible repeated image of the blue tinted landscape of the Filipino countryside from a slow moving train, accompanied by a lackadaisical, tropical melody, further reinforces Yuddy's complacency and lack of direction. Inevitably, it is Yuddy's own inertia that, not only leads to his own slow self-destruction, but contaminates the soul of each passing acquaintance with a sense of unrequited longing and ache of despair."The above quoted from here:
http://filmref.com/directors/dirpages/wong.html#daysWong Kar-Wai's
In the Mood for Love has been voted the greatest film of the 21st century in Sight and Sound's Critics Poll. It came in as the 24th greatest film of all time. It will maintain that status for the next 10 years.
"Using graceful slow motion sequences and nostalgic music, Wong Kar-wai juxtaposes the romanticism of a lost era with the unrequited longing of an impossible relationship in In the Mood for Love. Wong's highly stylized camerawork serves as a visual foil to the chaos of the meticulously structured mise-en-scene: the crowded living conditions, overly familiar neighbors, and imposing, uninvited guests reflect the claustrophobic, intrusive nature of traditional society. In contrast, the suffused colors of the empty restaurant and the long, reverse tracking shot of the hallway leading to Mo-Wan's creative retreat reflect the uninhibited freedom of their surfacing emotions. Furthermore, Su Li-zhen's seductively bold and exquisitely tailored high collared dresses manifest her paradoxical character: passionate, yet reserve; sensual, yet conservative. In essence, the visual dichotomy of the film serves as a reflection of the emotional turmoil that results from their innocuous alliance. In the Mood for Love is a subtly intoxicating and hypnotic film on love and longing, fate and destiny, connection, and isolation."The above quoted from here:
http://filmref.com/directors/dirpages/wong.html#moodIn
2046, Wong Kar-Wai delivers a sensually beautiful film, awash in color, and timed with one of the most beautiful soundtracks you'll ever hear. While at one point, the theme is nearly summarized for you in a tidy sentence, many will find the film difficult to fully understand. Repeated viewings are encouraged.
"In the essay Images from the Inside, Jean-Marc Lalanne describes the films of Wong Kar-wai as akin to the elaborately conceived and painstaking detailed, but consequently unwieldy and disintegrating fragments of the cartographer's map in a José Luis Borges novel: a simulacrum whose fidelity approached the real so exactly that it now covered the original subject in its entirely. Within this allegorical framework, 2046 perhaps comes closest to Wong's overarching raison d'être for his evocatively fractured, yet voluptuous and lucid contemporary portraits of transitory connection, rootlessness, and unreconciled longing. From Lau's reprised appearance as Mimi to repeated mnemonics of the number 2046, to the film's elliptical structure that modulates sinuously through past, present, and (fictional) future, to the film's thematic narrative progression through successive Christmas Eves (a holiday that evokes images of birth, hope, and renewal), Wong captures the delusion and innate tragedy in the perpetuation of emotional stasis, insularity, and existential transience that lead to meaningless ritual (note that the year 2046 also signifies the end of the Chinese government's reassurance to leave Hong Kong's political and economic administration unchanged for 50 years after the British handover in 1997). Moreover, through Mo-wan's futuristic companion manuscript 2047, a story that he had penned about a Japanese traveler who sought to leave 2046 (a figurative utopian escape that seemed logically inconceivable and had never been undertaken) and his relationship with a malfunctioning android/train stewardess afflicted with delayed reaction (a character based on his assistant and occasional ghostwriter Jing Wen), Wong illustrates the desolation of failed synchronicity: the reluctant realization that romantic destiny is defined by the precise, coincidental intersection of both a physical and an emotional trajectory. It is interesting to note that the film's surreal opening sequence (of the lone Japanese traveler) is later revealed, not to be an excerpt from the serial novel 2046, but from the draft of 2047: a point of view that acknowledges the folly of resigned nostalgia and seeks to escape its moribund, seductive euphoria and blissful oblivion. It is this defiance against complacency and delusive escapism that invariably define Wong's indelible images of eternal romanticism as well: an ambitious and ennobled personal quest to resolve time, desire, connection, and destiny within the chaotic and unpredictable tide of inevitable human history."The above quoted from here:
http://filmref.com/directors/dirpages/wong.html#2046Trailers follow:
Days of Being Wild trailer:
http://www.youtube.com/watch?v=6cExEkJjyD8In the Mood for Love trailer:
http://www.youtube.com/watch?v=9kRQqksluZk2046 trailer:
http://www.youtube.com/watch?v=w8rG4plRMZ4
(free or with bitcoins)
