Wong Kar Wai
Wong Kar Wai’s breakthrough sophomore feature represents the first full flowering of his swooning signature style. The first film in a loosely connected, ongoing cycle that includes In the Mood for Love and 2046, this ravishing existential reverie is a dreamlike drift through the Hong Kong of the 1960s in which a band of wayward twenty-somethings—including a disaffected playboy (Leslie Cheung) searching for his birth mother, a lovelorn woman (Maggie Cheung) hopelessly enamored with him, and a policeman (Andy Lau) caught in the middle of their turbulent relationship—pull together and push apart in a cycle of frustrated desire. The director’s inaugural collaboration with both cinematographer Christopher Doyle, who lends the film its gorgeously gauzy, hallucinatory texture, and actor Tony Leung, who appears briefly in a tantalizing teaser for a never-realized sequel, Days of Being Wild is an exhilarating first expression of Wong’s trademark themes of time, longing, dislocation, and the restless search for human connection.
This boldly cinematic trio of stories about love and loss, from Krzysztof Kieślowski was a defining event of the art-house boom of the 1990s. The films are named for the colors of the French flag and stand for the tenets of the French Revolution—liberty, equality, and fraternity—but that hardly begins to explain their enigmatic beauty and rich humanity. Set in Paris, Warsaw, and Geneva, and ranging from tragedy to comedy, Blue, White, and Red(Kieślowski’s final film) examine with artistic clarity a group of ambiguously interconnected people experiencing profound personal disruptions. Marked by intoxicating cinematography and stirring performances by such actors as Juliette Binoche, Julie Delpy, Irène Jacob, and Jean-Louis Trintignant, Kieślowski’s Three Colors is a benchmark of contemporary cinema.
The Hong Kong crime drama was jolted to new life with the release of the Infernal Affairs trilogy, a bracing, explosively stylish critical and commercial triumph that introduced a dazzling level of narrative and thematic complexity to the genre with its gripping saga of two rival moles.
The release of François Truffaut’s The 400 Blows in 1959 shook world cinema to its foundations.