DAYS OF BEING WILD / FALLEN ANGELS

ABOUT THE FILMS

DAYS OF BEING WILD, 1990, Janus Films, 95 min. Dir. 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.

FORMAT: DCP

FALLEN ANGELS, 1995, Janus Films, 99 min. Dir. Wong Kar Wai

Lost souls reach out for human connection amidst the glimmering night world of Hong Kong in Wong Kar Wai’s hallucinatory, neon-soaked nocturne. Originally conceived as a segment of CHUNGKING EXPRESS only to spin off on its own woozy axis, this hyper-cool head rush plays like the dark, moody flip side to Wong’s breakout feature as it charts the subtly interlacing fates of a handful of urban loners, including a coolly detached hitman (Leon Lai) looking to go straight, his business partner (Michelle Reis) who secretly yearns for him, and a mute delinquent (Takeshi Kaneshiro) who wreaks mischief by night. Swinging between hardboiled noir and slapstick lunacy with giddy abandon, FALLEN ANGELS is both a dizzying, dazzling city symphony and a poignant meditation on love, loss, and longing in a metropolis that never sleeps.

FORMAT: DCP