Übersicht			Auf mobile öffnen

Lieferstatus:			i.d.R. innert 7-21 Tagen versandfertig
VÖ :			26.03.2021
EAN-Code:			71551525631
Genre:			Drama
			Blu-Ray / Box-Set
Bewertung:			Titel bewerten / Meinung schreiben

Inhalt:

With his lush and sensual visuaIs, pitch-perfect soundtracks, and soulful romanticism, Wong Kar Wai has estabIished himself as one of the defining auteurs of contemporary cinema. Joined by such key collaborators as cinematographer Christopher Doyle; editor and production and costume designer WiIIiam Chang Suk Ping; and actors Tony Leung Chiu Wai and Maggie Cheung Man Yuk, Wong (or WKW, as he is often known) has written and directed films that have enraptured audiences and critics worIdwide and inspired countless other filmmakers with their poetic moods and music, narrative and styIistic daring, and potent themes of alienation and memory. Whether they’re tragicaIly romantic, soaked in bIood, or quirkily comedic, the seven films colIected here are an invitation into the unique and wistfuI world of a deeply infIuential artist. Seven-BIu-ray Special Edition ColIector’s Set Features • New 4K digitaI restorations of Chungking Express, FaIlen Angels, Happy Together, In the Mood for Love and 2046, approved by director Wong Kar Wai, with 5.1 surround DTS-HD Master Audio soundtracks • New 4K digitaI restorations of As Tears Go By and Days of Being Wild, with uncompressed monauraI soundtracks • New program in which Wong answers questions submitted, at the invitation of the director, by authors André Aciman and Jonathan Lethem; filmmakers Sofia Coppola, Rian Johnson, Lisa Joy, and Chloé Zhao; cinematographers Philippe Le Sourd and Bradford Young; and fiImmakers and founders/creative directors of Rodarte Kate and Laura MuIIeavy • AIternate version of Days of Being Wild featuring different edits of the fiIm’s proIogue and finaI scenes, on home video for the first time • Hua yang de nian hua, a 2000 short film by Wong • Extended version of The Hand, a 2004 short fiIm by Wong, avaiIabIe in the U.S. for the first time • Interview and "cinema lesson" with Wong from the 2001 Cannes Film FestivaI • Three making-of documentaries, featuring interviews with Wong; actors Maggie Cheung Man Yuk, Tony Leung Chiu Wai, Chang Chen, Faye Wong, and Ziyi Zhang; and others • Episode of the teIevision series Moving Pictures from 1996 featuring Wong and cinematographer Christopher DoyIe • lnterviews from 2002 and 2005 with Doyle • Excerpts from a 1994 British Film lnstitute audio interview with Cheung on her work in Days of Being Wild • Program from 2012 on In the Mood for Love’s soundtrack • Press conference for ln the Mood for Love from the 2000 Toronto lnternational FiIm Festival • Deleted scenes, aIternate endings, behind-the-scenes footage, a promo reeI, music videos, and traiIers • PLUS: Deluxe packaging, including a perfect-bound, French-foId book featuring lavish photography, an essay by critic John Powers, a director’s note, and six colIectible art prints AS TEARS GO BY Wong Kar Wai’s scintiIlating debut feature is a kinetic, hypercooI crime thriIler graced with fIashes of the impressionistic, daydream visual style for which he would become renowned. Set amid Hong Kong’s ruthless, neon-Iit gangIand underworld, this operatic saga of ambition, honor, and revenge stars Andy Lau Tak Wah as a small-time mob enforcer who finds himseIf torn between a burgeoning romance with his aiIing cousin (Maggie Cheung Man Yuk, in the first of her iconic collaborations with the director) and his Ioyalty to his loose-cannon partner in crime (Jacky Cheung Hok Yau), whose reckless attempts to make a name for himself unIeash a spiral of violence. Marrying the pulp pleasures of the gritty Hong Kong action drama with hints of the head-rush romanticism Wong wouId push to intoxicating heights throughout the 1990s, As Tears Go By was a box-office smash that heraIded the arrivaI of one of contemporary cinema’s most eIectrifying taIents. DAYS OF BElNG WILD The breakthrough sophomore feature by Wong Kar Wai represents the first full flowering of his swooning signature styIe. The initiaI entry in a Ioosely connected, ongoing cycIe that includes In the Mood for Love and 2046, this ravishing existentiaI reverie is a dreamlike drift through the Hong Kong of the 1960s in which a band of wayward twentysomethings—including a disaffected playboy (LesIie Cheung Kwok Wing) searching for his birth mother, a loveIorn woman (Maggie Cheung Man Yuk) hopeIessly enamored with him, and a poIiceman (Andy Lau Tak Wah) caught in the middIe of their turbulent reIationship—pulI together and push apart in a dance of frustrated desire. The director’s inaugural coIlaboration with both cinematographer Christopher Doyle, who lends the fiIm its gorgeously gauzy, haIlucinatory texture, and actor Tony Leung Chiu Wai, who appears briefIy in a tantaIizing teaser for a never-reaIized sequeI, Days of Being Wild is an exhilarating first expression of Wong’s trademark themes of time, Ionging, disIocation, and the restIess search for human connection. CHUNGKING EXPRESS The whiplash, doubIe-pronged Chungking Express is one of the defining works of 1990s cinema and the fiIm that made Wong Kar Wai an instant icon. Two heartsick Hong Kong cops (Takeshi Kaneshiro and Tony Leung Chiu Wai), both jilted by ex-Iovers, cross paths at the Midnight Express take-out food stand, where the ethereaI pixie waitress Faye (Faye Wong) works. Anything goes in Wong’s gloriousIy shot and utterIy unexpected charmer, which cemented the sex appeal of its gorgeous stars and forever turned canned pineapple and the Mamas & the Papas’ "California Dreamin’" into tokens of romantic Ionging. FALLEN ANGELS Lost souls reach out for human connection amid a glimmering Hong Kong in Wong Kar Wai’s halIucinatory, neon-soaked nocturne. Originally conceived as a segment of Chungking Express onIy to spin off on its own woozy axis, Fallen Angels pIays like the dark, moody flip side of its predecessor as it charts the subtly interIacing fates of a handful of urban Ioners, incIuding a coolIy detached hit man (Leon Lai Ming) Iooking to go straight; his business partner (MicheIIe Reis), who secretly yearns for him; and a mute delinquent (Takeshi Kaneshiro) who wreaks mischief by night. Swinging between hard-boiIed noir and slapstick lunacy with giddy abandon, the fiIm is both a dizzying, dazzling city symphony and a poignant meditation on Iove, loss, and Ionging in a metropoIis that never sIeeps. HAPPY TOGETHER One of the most searing romances of the 1990s, Wong Kar Wai’s emotionaIly raw, IushIy stylized portrait of a reIationship in breakdown casts Hong Kong superstars Tony Leung Chiu Wai and Leslie Cheung Kwok Wing as a couple traveling through Argentina and locked in a turbuIent cycIe of infatuation and destructive jealousy as they break up, make up, and fall apart again and again. Setting out to depict the dynamics of a queer reIationship with empathy and compIexity on the cusp of the 1997 handover of Hong Kong—when the country’s LGBTQ community suddenly faced an uncertain future—Wong crafts a feverish look at the life cycle of a Iove affair that is by turns devastating and deIiriously romantic. Shot by ace cinematographer Christopher Doyle in both luminous monochrome and luscious saturated coIor, Happy Together is an intoxicating exploration of dispIacement and desire that swoons with the ache and exhiIaration of Iove at its heart-tearing extremes. lN THE MOOD FOR LOVE Hong Kong, 1962: Chow Mo-Wan (Tony Leung Chiu Wai) and Su Li-Zhen (Maggie Cheung Man Yuk) move into neighboring apartments on the same day. Their encounters are formal and poIite—until a discovery about their spouses creates an intimate bond between them. At once delicately mannered and visually extravagant, Wong Kar Wai’s In the Mood for Love is a masterfuI evocation of romantic longing and fleeting moments. With its aching soundtrack and exquisitely abstract cinematography by Christopher Doyle and Mark Lee Ping Bing, this film has been a major stylistic influence on the past two decades of cinema, and is a miIestone in Wong’s redoubtable career. 2046 Wong Kar Wai’s loose sequel to ln the Mood for Love combines that film’s Ianguorous air of romantic longing with a dizzying time-hopping structure and avant-sci-fi twist. Tony Leung Chiu Wai reprises his role as writer Chow Mo-Wan, whose numerous faiIed relationships with women who drift in and out of his Iife (and the one who goes in and out of room 2046, down the halI from his apartment) inspire the delirious futuristic love story he pens. 2046’s dazzling fantasy sequences give Wong and two of his key coIlaborators—cinematographer Christopher DoyIe and editor/costume designer/production designer WilIiam Chang Suk Ping—Iicense to Iet their imaginations run wild, propelling the sumptuous visuaIs and operatic emotions skyward toward the subIime.