Wong Kar-wai

Wong Kar-wai, BBS (born 17 July 1958) is a Hong Kong Second Wave filmmaker, internationally renowned as an auteur for his visually unique, highly stylized work, including As Tears Go By (1988), Days of Being Wild (1990), Ashes of Time (1994), Chungking Express (1994), Fallen Angels (1995), Happy Together (1997), 2046 (2004) and The Grandmaster (2013). His film In the Mood for Love (2000), starring Maggie Cheungand Tony Leung, notably garnered widespread critical acclaim.

Wong's films frequently feature protagonists who yearn for romance in the midst of a knowingly brief life and scenes that can often be described as sketchy, digressive, exhilarating, and containing vivid imagery.^[1]

One of the most visually entrancing filmmakers working today, Wong Kar-Wai is a man who creates films filled with dazzling images and characters with a sense of romanticism. Known for his broad ideas and unconventional techniques in the realm of filmmaking, he is an individual that refuses to play by the rules. He brings both Asian sensibility and French New Wave cinematic techniques to each of his stories. After finally making his return in 2013, with his Ip Man bio-pic The Grandmaster, it is clear that there is no other filmmaker like Wong Kar-Wai working today.

Born in Shanghai, China on July 17, 1958, Wong Kar-Wai moved to Hong Kong when he was five years-old. His mother introduced him to many different aspects of cinema ranging from the films of Hong Kong to 1960s French New Wave. After spending two years studying graphic design at the Hong Kong Polytechnic College in 1980, he enrolled in the Hong Kong Television Broadcast Limited course for production training and he learned the art of screenwriting. Kar-Wai took part in in an apprenticeship during this period which brought him to the attention of renowned Hong Kong producer Alan Tang.

Tang hired Kar-Wai to write scripts for various movies ranging from romantic-comedies to action films. Though they scripts were successful, and helped him to get a lot of work, it was clear that Kar-Wai wanted something more. Fortunately, it was Tang who ultimately gave Kar-Wai the chance to helm his first feature film.