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1

break Maggie Cheung's heart again and i'll break your fucking ankles

5

"At one minute before 3pm on April the 16th, 1960, you're together with me. Because of you, I'll that one minute. From now on, we're friends for one minute. This is a fact, you can't deny. It's done"

No wonder Wong's characters are so attached to the moment, they can at best long for a past or future.

46

Having seen and loved 2046 and In the Mood for Love, I was excited about finally seeing the first of the trilogy. I expected it to be good, but not as good as the other two. Well, it turns out I was right, but just barely.

Wong Kar-Wai is the master of loneliness and longing. No one does it better. It is not the easiest thing to film, this inner life, but he does it brilliantly. One of his ways is to show rain. He doesn't use rain in that typical way where the character is looking out the window at the bleakness of it all. He doesn't do it to set a tone or a mood. He does it…

3

The movie is called "Days of Being Wild" but all they do is just like stand in the rain and cry.

7

The final 20 minutes remain breathtaking and disorienting. There are two forms of intoxication: total recognition and utter bewilderment. Wong is the only filmmaker who can create both sensations at the same time.

Review by davidehrlich ★★★½

“I used to think a minute could so quickly. But actually, it can take forever.”

The Big Bang of the Wong Kar Wai Cinematic Universe (WKWCU), “Days of Being Wild” sketches so many of the elements that later became signatures. It starts with the people: Carina Lau’s Mimi/Lulu, Tony Leung’s Chow Mo-wan (introduced primping himself in the film’s ecstatically uncontextualized final shot like a glimpse of the future), and Maggie Cheung as Su Li-zhen, but a different Su Li-zhen than the one she’d play in “In the Mood for Love” a decade later (or maybe the same woman, snow-globed inside the Hong Kong of the early ’60s as the rest world spins forward without her). Most unvarnished and bittersweet…

Review by Josh Lewis ★★★★ Liked

Dead from the beginning.

Review by Shane McAvoy ★★★★½ Liked

Tony Leung showing up in the final two minutes is Wong’s Nick Fury post-credit scene.

3

love it when directors use colors and architecture to convey the subtlest emotions like hell yeah give me moody greens and apartments falling apart like two lonely lovers holding onto anything they can

6

89

Imprints of a pitiful and empty existence with no past, and no future. All that's available is the ticking perpetual bomb of 0 to 60 seconds. The time we are able to recognize, maybe even see and feel. But then it resets, and we lose sight of it, gone into the night.

5

"We really didn't know each other that long."

All buses stop here.

1

imagining the version of In The Mood For Love that follows Mimi instead and she just immediately fucks Tony Leung with no preamble