Filmmaker Wong Kar Wai exists in liminal spaces— the pauses between words, the gaps between cultures, the chance encounters between strangers who will become lovers or almost become lovers before they’re strangers again.
His films are about potential, not expiation; his characters are each “about to,” and that they don’t know that is heartbreaking.
He’s slippery, ephemeral, a warm smell carried on a spring breeze, the first maybe after a long winter. His films exist at the moment of change after lifetimes of stagnation and rigor; His interest isn’t drawn by any narrative force, but rather by how everything is essentially the same until something changes and then it’s the same again, but in this new way.
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