#Christopher Wong

[ghienreviewme]

Review phim Người vợ cuối cùng: Dễ xem nhưng chưa đột phá

Thời lượng: 206 phút Đạo diễn: Victor Vũ Diễn viên: Kaity Nguyễn, Thuận Nguyễn, NSƯT Quang Thắng Quốc gia: Việt Nam Thể loại: Tâm lý, kịch tính, tình cảm Khởi chiếu: 03/11/2023 Sau loạt drama của phim Đất rừng Phương Nam thì bộ phim Người vợ cuối cùng ra rạp trong tâm thế hơi dè chừng của khán giả Việt. Tuy nhiên với tên tuổi của Victor Vũ và ekip cùng một trailer nóng bóng, bộ phim Việt Nam này…

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[sweetlikeciinnamonn]

fallen angels (1995) by wong kar-wai

[laestoica]

Christopher Doyle and Michelle Reis on the set of Fallen Angels.

[punknarcissus]

tony leung on set for happy together (1997)

ph. christopher doyle

[teenlobotomie]

tony leung and leslie cheung on the set of happy together (1997) dir. wong kar-wai

[urban-lad]

𝐇𝐚𝐩𝐩𝐲 𝐓𝐨𝐠𝐞𝐭𝐡𝐞𝐫 1997

[2001hz]

Behind The Scenes of Wong Kar Wai's Happy Together (1997) Photography By: Christopher Doyle

[filmy420]

In the Mood for Love (2000)

[filmsandtextinmotion]

The internet really amazes me sometimes! Look at these unearthed treasures straight from the depths of the past!

Whoever put these snaps out here just saved thousands of people looking for Mrs. Chan and Mr. Chow!

God Bless!

[namedr]

Fallen Angels Study in MS Pain(t)

[lostinmac]

Fallen Angels (1995)

Dir. Wong Kar-wai

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[wavyphoenix-png]

FALLEN ANGELS: Journal Entry (6/8)

grateful I didn’t watch this movie when I was 19 cuz I would’ve been insufferable. That said, I’m really glad that I gave myself the opportunity to successfully watch and engulf myself in Fallen Angels. Watching this, I was able to understand where a good deal of underground visuals came from circa 2021; step printing and the aesthetic of the mercenary alike. Furthermore, akin to Chungking Express the screenwriting takes four characters (or better) and intertwines them as the script progresses. Unlike its predecessor however, this movie goes a step above what Chungking Express did — fusing and letting individual character progressions intersect a lot more prominently than the former. While I wasn’t as passionate about this movie as I was with Chungking Express, I still can appreciate this film and dissect what I did and didn’t appreciate.

I hadn’t realized initially that I signed up to watch an assassin’s tale. At first, I felt little attachment to Wong and it was truly because I’m not into brooding anti-hero archetypes. As a matter of fact, I felt a bit more connected to the women he was involved with — Blondie and his unnamed partner alike. Blondie yearns for love in a man unable to provide it sustainably. Wong’s unnamed partner is in love with a man who only ever agreed to be business partners with her. In both scenarios, Wong inevitably acknowledges his inability to satisfy both of their needs, inevitably parting ways with both in the hopes that they find the love they ever so seek.

One of my favorite aspects of this specific story’s progression was the cinematography. The step printing effect, the increased shutter speed, the exaggerated fish eye lens (which was advocated for by cinematographer Christopher Doyle) all contribute to a distorted harmony of restlessness. To continue, the cinematography illustrates more of a spontaneous freeform of shots than it follows a traditional structure and whether it intended to or not, this is a crucial blueprint for many music videos within the last decade. Lucki via Lonewolf, Travis Scott and Pop Smoke via Cactus Jack/White Trash Tyler, Migos via Sing J. Lee — the influence is prevalent.

Every character was written in lonesomeness and loss in their own right but He Zhiwu was a character I couldn’t help but feel for. Personally, I felt more attachment to him and the navigation in his limerence. He doesn’t experience these things quite like the average joe as he is mute and socially awkward. Given these details, I empathized a bit more though he seemed to handle his shortcomings with a childlike bliss. To switch lanes a bit, I felt the love between him and his father. An awkward relationship and at times funny by the will of Zhiwu’s mischievous behaviors, but an honest one. He expresses his love for him through his cinematography and it gives us a truly pure essence of the relationship they have. Truly, he’s a very layered character and his silence speaks volumes in quiet settings. Limerence can be fleeting. Love hits like a stray bullet. Hardship can be a thunderstorm. Zhiwu felt everything, and as child-like as he was, he was just as analytical. Stop to feel these things out — don’t just neglect these sensations.

[theersatzcowboy]

2046 (2004)

Visionary Filmmaker Wong Kar-wai delivers one of the greatest (and most frustrating) sequels of all time, looking resolutely forward as we long to return back to the unfulfilled passions of In The Mood for Love (2000).

Director: Wong Kar-wai

Cinematographer: Christopher Doyle, Lai Yiu-fai, Kwan Pun-leung

Starring: Tony Leung, Gong Li, Zhang Ziyi, Faye Wong, Carina Lau, Maggie Cheung, Takuya Kimura, and Chang Chen

[thena0315]