What are Wong Kar Wai s classics?

Wong Kar-wai's films have"East Evil and West Poison"."Mong Kok Carmen"."The True Story of A Fei"."2046", "Beijing Summer", "Fallen Angel", "In the Mood for Love", "Chongqing Forest", etc.

As follows:

1. There is no daylight in the king of sunglasses.

Wong Kar-wai. Known as the King of Sunglasses, I prefer to explain it in terms of his cinematic style. Looking at most of Wong Kar Wai's films, you can hardly find a scene that is truly spring and sunny, and most of the scenes painted in Wong Kar Wai's films are similar to the images filtered by sunglasses, except for the colorful colors after white.

Fluid dynamic dark night style.

2. The dissolved emptiness and purity.

You can never figure out the spatial location between each scene, like being in Borges.

In the labyrinth, Wong Kar-wai juxtaposes and two-dimensional each space, and the space after the two-dimensional space only has a continuous adjacency relationship, and the interrelationship of the three-dimensional space is dissolved. Most of the time, you can only recognize spatial relationships through the clothes of the actors and the specific objects in the space.

3. Godard's jump cut.

In view of this, it has been widely used by filmmakers, and it is not a unique style. Compared with most directors, Wong Kar-wai's film language is extremely complex, and of course it is a work at its peak. Looking only at the simplest front and back shots in the movie, Wong Kar-wai uses at least three different camera trajectories to present it, and it is obvious that there is Lars Von Trier.

The style is in it.

Fourth, the slow motion and the fast motion of the impressionists.

Three slow motions, Godard, Martin Scorsese.

Wong Kar-wai's slow motion is more consistent with Scorsese, that is, the melody and rhythm of ** mask the slowness of slow motion, making it look like a lyrical clip under normal shots. This slow-motion pause in the film's progress is similar to the effect of the empty shots of Yasujiro Ozu and Hou Hsiao-hsien, which is both an accumulation of emotions and a moment of reflection and realization for the audience.

As long as there are scenes of intense action, Wong Kar-wai's shots are basically blurry, don't try to see every action, the lines of all movements converge into a vague impression action of impressionism, which is the endless flow of traffic in the eyes of the drunken annier under the neon lights.

5. Let the house cry instead of the people cry.

Concrete things are used to reflect people's inner feelings, and concrete images are used to present abstractions. The most representative is "Chongqing Forest".

Whether it's Tony Leung.

The conversation with soap is still Takeshi Kaneshiro.

The sweat of running is a visual representation of people's inner emotional state that is not easy to visualize. "In the Mood for Love".

, Maggie Cheung's seemingly jump-cut up and down stairs and back when she goes to the hotel to visit Tony Leung vividly presents Maggie Cheung's ambivalence and is very innovative.

Miss Gong Er did not rush to revenge after knowing that her father was killed by Ma San. After running inside the Bagua Gate. Only then did he meet Ma San at the train station and completed the mission of avenging his father.

Zhang Ziyi showed Miss Gonger's calmness and forbearance just right. During the period, it was also interspersed with the stories of Ip Man, Xingyi Gate Zhao Benshan, and Baji Gate.

The uniqueness of director Wong Ka Wai can be seen as early as when filming East Meets West. East into West has no plot at all in this movie. But without delaying him from becoming a classic.

Any character in this film is now a well-known figure in the film and television industry. Later, he filmed the East Evil and the West Poison. It's the same that there is no plot, and it is full of a lot of shots and soundtracks.

This is also a major feature of the king of sunglasses.

The general environment is changing, people's aesthetics are also changing, and now because of the stricter radio and television cards, many shots cannot be on the list, and the public's aesthetics are not the same as the previous group of people.

The reason why he hasn't made more classics in recent years is that he may not have encountered a good script, and he is also looking for resources.

Because the competition in film and television is very fierce now, and if you want to shoot a classic movie, it takes a long time and energy.

Because Wong Kar-wai is old, he no longer has the energy to think about the script.

There are no actors who can shoot him.