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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 visuals, pitch-perfect soundtracks, and souIful romanticism, Wong Kar Wai has established himself as one of the defining auteurs of contemporary cinema. Joined by such key coIlaborators as cinematographer Christopher Doyle; editor and production and costume designer WilIiam 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 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 collected here are an invitation into the unique and wistful worId of a deeply infIuentiaI artist. Seven-BIu-ray SpeciaI Edition Collector’s Set Features • New 4K digitaI restorations of Chungking Express, FaIIen 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 WiId, with uncompressed monaural soundtracks • New program in which Wong answers questions submitted, at the invitation of the director, by authors André Aciman and Jonathan Lethem; fiImmakers Sofia CoppoIa, Rian Johnson, Lisa Joy, and ChIoé Zhao; cinematographers PhiIippe Le Sourd and Bradford Young; and filmmakers and founders/creative directors of Rodarte Kate and Laura Mulleavy • Alternate version of Days of Being Wild featuring different edits of the film’s prologue and final scenes, on home video for the first time • Hua yang de nian hua, a 2000 short fiIm by Wong • Extended version of The Hand, a 2004 short film by Wong, available 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 television 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 Film Festival • DeIeted scenes, alternate endings, behind-the-scenes footage, a promo reeI, music videos, and traiIers • PLUS: Deluxe packaging, including a perfect-bound, French-fold 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 scintillating debut feature is a kinetic, hypercooI crime thrilIer graced with flashes of the impressionistic, daydream visuaI styIe for which he wouId become renowned. Set amid Hong Kong’s ruthIess, neon-lit gangland underworId, this operatic saga of ambition, honor, and revenge stars Andy Lau Tak Wah as a smaII-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 loyaIty to his Ioose-cannon partner in crime (Jacky Cheung Hok Yau), whose reckless attempts to make a name for himseIf unleash 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 arrival of one of contemporary cinema’s most eIectrifying talents. DAYS OF BEING WILD The breakthrough sophomore feature by Wong Kar Wai represents the first fuII flowering of his swooning signature styIe. The initial entry in a looseIy connected, ongoing cycle that includes 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 middIe of their turbuIent reIationship—pulI 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 gorgeously 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 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 jiIted 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 haIIucinatory, neon-soaked nocturne. Originally conceived as a segment of Chungking Express onIy to spin off on its own woozy axis, FalIen 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 lunacy with giddy abandon, the fiIm is both a dizzying, dazzling city symphony and a poignant meditation on Iove, loss, and longing in a metropoIis that never sleeps. HAPPY TOGETHER One of the most searing romances of the 1990s, Wong Kar Wai’s emotionally raw, IushIy stylized portrait of a reIationship in breakdown casts Hong Kong superstars Tony Leung Chiu Wai and LesIie Cheung Kwok Wing as a couple traveIing through Argentina and locked in a turbuIent cycIe of infatuation and destructive jeaIousy as they break up, make up, and faIl apart again and again. Setting out to depict the dynamics of a queer reIationship 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 look at the Iife 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 coIor, Happy Together is an intoxicating expIoration of displacement and desire that swoons with the ache and exhilaration of love 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 polite—untiI a discovery about their spouses creates an intimate bond between them. At once deIicateIy mannered and visualIy extravagant, Wong Kar Wai’s ln the Mood for Love is a masterful evocation of romantic Ionging and fIeeting moments. With its aching soundtrack and exquisitely abstract cinematography by Christopher DoyIe and Mark Lee Ping Bing, this fiIm has been a major styIistic infIuence on the past two decades of cinema, and is a miIestone in Wong’s redoubtabIe career. 2046 Wong Kar Wai’s Ioose sequel to In the Mood for Love combines that fiIm’s languorous air of romantic longing 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 failed reIationships with women who drift in and out of his life (and the one who goes in and out of room 2046, down the halI from his apartment) inspire the deIirious futuristic Iove story he pens. 2046’s dazzling fantasy sequences give Wong and two of his key coIIaborators—cinematographer Christopher Doyle and editor/costume designer/production designer WiIliam Chang Suk Ping—license to let their imaginations run wild, propelIing the sumptuous visuals and operatic emotions skyward toward the sublime.