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Years ago I found this piece by writer/musician MOMUS which has stuck with me too: There's something about Fallen Angels that doesn't wash off. The first time I saw Fallen Angels, I thought it was an inferior movie to Chungking Express, but years later it still evokes way more powerful memories and emotions than the latter. I didn't 'love' Chungking Express until my second viewing and was left confused just like you my first time. I ended up loving Fallen Angels more than Chungking Express and it also expands on some of the ideas introduced in Chungking Express.įinally, I also definitely recommend multiple viewings. I think WKW himself said Chungking Express and Fallen Angels should be viewed together as a three-hour film. In fact, Fallen Angels was supposed to be the third story in Chungking Express that they cut due to time constraints. I also highly recommend Fallen Angels, the spiritual sequel to Chungking Express. And like what others have said, Wong Kar-wai's films often have open-ended endings because of his freewheeling attitude to filmmaking and screenplays (iirc In The Mood for Love was also mostly improvized). Cinematographer Christopher Doyle said himself that "The best films I've made is when I fell out of love.and I think that loneliness is one of the most beautiful experiences in life". You could certainly make an argument for any of those.įor me, the film's portrayal of loneliness showed the beauty of being lonely rather than being depressing. But easy, as you say, or overdone/limiting/losing relevance/otherwise problematic? Maybe. A short list would include Wong Kar-wai's first four films.Ībbas wrote about this as early as 1994 (pre-dating Chungking Express by a few months), where he talked about WKW's first film As Tears Go By in the context of the handover. Nevertheless, as films they are both products and analyses of a cultural space of disappearance, as well as responses to it. More often than not, these films do not make any direct reference to Hong Kong’s political situation today, and they cover a wide spectrum of popular genres. that is significant in the new Hong Kong cinema but, rather, what I call a problematic of disappearance, that is to say, a sense of the elusiveness, the slipperiness, the ambivalence of Hong Kong’s cultural space. It is not the appearance of 'Hong Kong themes'. There's an influential 1997 essay on the topic, "The New Hong Kong Cinema and the Déjà Disparu" by Ackbar Abbas: Interpretations like these were popular at the time. One one hand, it seems clear that both people love each other, yet, the girl is going away to fly somewhere else. Maybe if the message wasn't deleted, then police man #2 and the stewardness would have gotten back together.
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Near the end we see police man #2 interacting with the stewardess and it felt like a reminder of what could have been. Faye Wong deleting the message from the stewardess felt rather cruel. Two points that were unusually depressing were: It felt like everyone was lonely all the time. I read a few posts about the movie on Reddit, but they didn't help too much in clarifying my understanding.Įveryone said the ending scene was amazing, and while I think I understood it, its lack of closure left me confused/desiring more. However, I didn't "get it" (maybe because I've never been in a serious romantic relationship). I just watched Chungking Express because I saw it was on a bunch of Redditor's top 10 romance films lists.
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Preface: None of this is meant to insult Chungking Express, I'm just confused on how to interpret it.