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Needless to say a must-see for Wongcolytes, Days of Being Wild is also an excellent entry point for people who haven't yet caught this most exotic and habit-forming of cinematic bugs.
Every shot is perfectly composed and compelling, with light and shadow manipulated to maximum effect.
There are images in Days that can make your heart stop for no other reason than that they're perfect.
It may have been released in the olden days of 1991, but Wong Kar-Wai's Days of Being Wild remains pulsatingly contemporary.
A triumph of movie pop poetics.
In many ways, Days of Being Wild anticipated the overall pattern of its writer-director- auteur's haunting career.
A dark moody period piece about unrequited love.
Twelve years after first seeing Days of Being Wild, I'm finally developing some fondness for it.
The '60s were a time of alienation and sadness, which I suppose Wong was trying to reflect here. But he's chosen characters so monumentally self-destructive that it's difficult to care about them.
Unless the film is pure homage, the film lacks authenticity
Wong has a reputation for slow-moving mood pieces in which very little happens, but that's not the case here.
Wong's always-striking visual style uses floating, neon colors and extreme angles to emphasize disconnected souls.
It now seems like a promising apprentice work, almost a blueprint for the writer-director's most acclaimed and famous film, In the Mood for Love.
The languorous atmosphere of longing, disconnection and emotional isolation is hypnotic.
A heady mix of sex, obsession, alienation and angst.
Feels exciting, in part, because you are watching an auteur lay the groundwork -- with an assortment of clocks, watches and meticulously detailed moments -- for ideas and moods he will obsessively follow in later films.
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