Eros-Theater

Eros (2004), Dir. Wong Kar-Wai, Steven Soderbergh, Michelangelo Antonioni

I am glad I got to see this. As always, Wong is absolutely gifted in creating a beautiful story that looks completely effortless. It seems that he and Chris Doyle (Director of Photography) make an amazing creative team, even if they do bug the crap out of each other. Wong has once again created an atmosphere that is uniquely his own.

The Sodergbergh section was bizarre, as the concept of eros didn't seem to have anything to do with his section. However, it does have an interesting look and good acting.

Antonioni may not be terribly functional, but he is still a pervert. But that's ok. And he has a great eye for locations that seem to magically spur the imagination and create the necessary mise-en-scene all on their own. I like his work, and this film is no exception.

Overall, the film was decent, but HAND (Wong Kar-Wai's film) was worth the price of admission all by itself. If you were to see nothing else of this film, you would still not go home emptyhanded.

Days of Being Wild-Theater

Days of Being Wild (1991), Dir. Wong Kar-Wai

First, let me make it clear that I love Wong Kar-Wai. I also love Christopher Doyle. This film does not disappoint. It contains scene after scene of quiet beauty, which is oh so refreshing with today's constant onslaught of indulgent, overwrought "moviemaking". Doyle chooses to move his camera slowly, deliberately, and quietly. There is no bravura in his movement. The form of the shots follows the function, as it should be. This creates an architectural structure that pulls you into the picture and doesn't let go. Once you've been pulled in, Wong makes the most of every moment for the next 90 minutes, which is really the point of the whole film. With a clock here and a clock there, one becomes quietly aware of the importance of time without the need for someone to say 'time is important' as they would in your typical Hollywood film.

Add to this the understated acting of Maggie Cheung (looking so young, by they way), and the suave Leslie Cheung, and you have a film that is so gracefully beautiful, you'll wonder why you don't watch this film every day.