Days of Being Wild

There is so much to tell about master director Wong Kar-Wai that you hardly know where to begin. With his obsession with color esthetics? His fascination for human encounters? His rhythmic editing? (Slow motion, really? Yes, it’s possible!) Or his soundtracks mixing Latin American waltzes with Hong Kong pop music?

And is there any other director who can capture love in all it’s destructive, fragile glory like he does? Well, maybe Barry Jenkins did in Moonlight. It is not without reason Wong Kar-Wai has often been referred to as a source of inspiration for his latest work.

In the Mood for Love, 2046 and Happy Together: films that have marked cinema history not only in Hong Kong, but worldwide. For #TBT in March we have therefore chosen to screen Wong Kar-Wai’s second feature film Days of Being Wild. His breakthrough film. The first collaboration with amazing cinematographer Christopher Doyle And the first time he worked together with actors Tony Leung and Leslie Cheung, who have appeared in nearly all of his works. (Leslie Cheung until his tragic death in 2003.)

Days of Being Wild forms an informal trilogy with In the Mood for Love and 2046. The films share some characters and narratives. In Days of Being Wild, set in Hong Kong 1960, we follow emotionally disturbed playboy Yuddy (Leslie Cheung) who learns from the drunken ex-prostitute who raised him, that she is not his real mother. Suffering from his Oedipus complex, he lets the two women who have fallen in love with him, Su Li Zhen (Maggie Cheung) and Mimi (Carina Lau) compete for him. Both female characters appear in the other parts of the trilogy.

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