Page 4 - Cine Appétit Issue 01

Cine Appétit THE EASTERLY
PAGE 04

ALL MEMORIES ARE TRACES

OF TEARS: LOOKING BACK

TO WONG KAR WAI

B Y
A N I K E T R O Y

are man’s best friend/ So how come mine won’t
He Zhivu, Cop 223: “We’re all unlucky in love
share my grief now?” What Wong Kar Wai does
sometimes. When I am, I go jogging. The body
in his films with the framework of those
loses water when you jog, so you have none
camera movements is to show a world of
left for tears.”
Pain of love, disconnect and the pointed loneliness, of the pain of love and the pangs of
beauty of neon lights portray up a world of poetry made IN the dark alleys by rain
ours, where the clocks walk past like the palms drenched lovers smoking their cigarettes

of a cat and the narration of a story goes amidst the neon suburbs of timidity. We get
round the midnight. Where lovers are caught nothing extraordinary but just some moods of
in a frenzy of mind-numbing flashbacks getting lost with the characters themselves and
manipulating the subtlety of pain and the listening to the music of some jazz in a bar
fragments of past that it doesn’t let us stay staring at a glass of vodka only praying for

still...and all we do is cry subconsciously. The nothing bad to happen to those characters on
above quote from Chungking Express screen. But we can’t manage to do it. Not with
instantly sets up the mood of a metropolitan Tony Leung or Leslie Cheung or Takeshi
city where the setting of lovesickness marks its Kaneshiro, but those films leave us with an
subtlety and passion so intricately that the exchange of emotion with a man from Hong

lover is just left with some cans of pineapple Kong whose gentle depiction of smoke rings
and his complains for his dog: “People say dogs leads to a narration of a mood of