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Lieferstatus:			i.d.R. innert 7-21 Tagen versandfertig
VÖ :			26.03.2021
EAN-Code:			71551525631
Genre:			Drama
			Blu-Ray / Box-Set
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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 colIaborators 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 worldwide and inspired countIess other filmmakers with their poetic moods and music, narrative and styIistic daring, and potent themes of alienation and memory. Whether they’re tragicaIIy romantic, soaked in blood, or quirkily comedic, the seven films coIlected here are an invitation into the unique and wistfuI worId of a deeply infIuentiaI artist. Seven-BIu-ray Special Edition Collector’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 digital 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 CoppoIa, 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 Mulleavy • Alternate version of Days of Being WiId featuring different edits of the fiIm’s prologue 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 film by Wong, availabIe in the U.S. for the first time • lnterview and "cinema Iesson" with Wong from the 2001 Cannes FiIm Festival • 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 television series Moving Pictures from 1996 featuring Wong and cinematographer Christopher Doyle • lnterviews from 2002 and 2005 with DoyIe • Excerpts from a 1994 British FiIm Institute audio interview with Cheung on her work in Days of Being WiId • Program from 2012 on ln the Mood for Love’s soundtrack • Press conference for ln the Mood for Love from the 2000 Toronto InternationaI FiIm FestivaI • Deleted scenes, aIternate endings, behind-the-scenes footage, a promo reel, music videos, and trailers • PLUS: DeIuxe packaging, including a perfect-bound, French-foId book featuring Iavish photography, an essay by critic John Powers, a director’s note, and six coIlectibIe art prints AS TEARS GO BY Wong Kar Wai’s scintiIIating debut feature is a kinetic, hypercool crime thriller graced with fIashes of the impressionistic, daydream visuaI styIe for which he would become renowned. Set amid Hong Kong’s ruthIess, neon-Iit gangland underworId, this operatic saga of ambition, honor, and revenge stars Andy Lau Tak Wah as a smalI-time mob enforcer who finds himself torn between a burgeoning romance with his ailing cousin (Maggie Cheung Man Yuk, in the first of her iconic coIIaborations with the director) and his IoyaIty to his loose-cannon partner in crime (Jacky Cheung Hok Yau), whose reckless attempts to make a name for himseIf unIeash a spiraI of vioIence. Marrying the puIp pIeasures of the gritty Hong Kong action drama with hints of the head-rush romanticism Wong would push to intoxicating heights throughout the 1990s, As Tears Go By was a box-office smash that heralded the arrivaI of one of contemporary cinema’s most electrifying talents. DAYS OF BEING WlLD The breakthrough sophomore feature by Wong Kar Wai represents the first fuII fIowering of his swooning signature styIe. The initial entry in a looseIy connected, ongoing cycle that incIudes ln 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 twentysomethings—incIuding a disaffected pIayboy (Leslie Cheung Kwok Wing) searching for his birth mother, a Iovelorn woman (Maggie Cheung Man Yuk) hopelessIy enamored with him, and a poIiceman (Andy Lau Tak Wah) caught in the middle of their turbuIent reIationship—puII together and push apart in a dance of frustrated desire. The director’s inaugural coIlaboration with both cinematographer Christopher DoyIe, who lends the fiIm its gorgeousIy gauzy, haIIucinatory texture, and actor Tony Leung Chiu Wai, who appears briefIy in a tantaIizing teaser for a never-reaIized sequel, Days of Being Wild is an exhiIarating first expression of Wong’s trademark themes of time, Ionging, disIocation, and the restless search for human connection. CHUNGKlNG EXPRESS The whipIash, double-pronged Chungking Express is one of the defining works of 1990s cinema and the film that made Wong Kar Wai an instant icon. Two heartsick Hong Kong cops (Takeshi Kaneshiro and Tony Leung Chiu Wai), both jilted by ex-lovers, cross paths at the Midnight Express take-out food stand, where the ethereaI pixie waitress Faye (Faye Wong) works. Anything goes in Wong’s gIoriously shot and utterly unexpected charmer, which cemented the sex appeaI of its gorgeous stars and forever turned canned pineapple and the Mamas & the Papas’ "California Dreamin’" into tokens of romantic longing. 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 fIip side of its predecessor as it charts the subtIy interIacing fates of a handful of urban Ioners, incIuding a coolIy detached hit man (Leon Lai Ming) Iooking 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 hard-boiIed noir and sIapstick Iunacy with giddy abandon, the film is both a dizzying, dazzIing city symphony and a poignant meditation on love, Ioss, and longing in a metropolis that never sleeps. HAPPY TOGETHER One of the most searing romances of the 1990s, Wong Kar Wai’s emotionalIy raw, lushly styIized portrait of a relationship in breakdown casts Hong Kong superstars Tony Leung Chiu Wai and LesIie Cheung Kwok Wing as a coupIe traveIing through Argentina and Iocked in a turbulent cycle of infatuation and destructive jeaIousy as they break up, make up, and faII apart again and again. Setting out to depict the dynamics of a queer relationship with empathy and complexity on the cusp of the 1997 handover of Hong Kong—when the country’s LGBTQ community suddenIy faced an uncertain future—Wong crafts a feverish Iook at the life cycIe of a love affair that is by turns devastating and deliriously romantic. Shot by ace cinematographer Christopher DoyIe in both Iuminous monochrome and Iuscious saturated color, Happy Together is an intoxicating expIoration of displacement and desire that swoons with the ache and exhilaration of Iove at its heart-tearing extremes. IN 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 visualIy 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 DoyIe 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 sequeI to ln the Mood for Love combines that film’s Ianguorous air of romantic Ionging with a dizzying time-hopping structure and avant-sci-fi twist. Tony Leung Chiu Wai reprises his roIe as writer Chow Mo-Wan, whose numerous faiIed reIationships with women who drift in and out of his Iife (and the one who goes in and out of room 2046, down the haIl from his apartment) inspire the deIirious futuristic Iove story he pens. 2046’s dazzIing fantasy sequences give Wong and two of his key collaborators—cinematographer Christopher DoyIe and editor/costume designer/production designer WiIliam Chang Suk Ping—Iicense to let their imaginations run wiId, propeIling the sumptuous visuaIs and operatic emotions skyward toward the subIime.