Film director and screenwrite Wong Kar-wai Films Ranking

Wong Kar-wai, the visionary maestro of Hong Kong cinema, has etched an indelible mark with his films characterized by melancholic plots, romantic themes, kinetic imagery, and poignant scores. However, his unconventional approach to filmmaking, involving prolonged production periods and unfinished scripts, has yielded a relatively small but immensely impactful body of work. Let’s delve into the enchanting world of Wong Kar-wai’s films, ranked from the good to the sheer perfection.

Table of Contents

The Big Picture

Before we dive into the rankings, let’s grasp the essence of Wong Kar-wai’s cinematic journey. Bursting onto the scene in 1988 with “As Tears Go By,” Wong’s films have been a mesmerizing tapestry of love, loss, and longing, with frequent collaborators like Tony Leung Chiu-Wai, Leslie Cheung, Maggie Cheung, and Carina Lau. His unique style and thematic through lines have left an indelible impression on the global film community.

10. My Blueberry Nights (2007): A Taste of Uninspired Romance

“My Blueberry Nights” finds itself at the bottom, Wong’s first English-language venture. While still carrying his hallmarks, the film falls victim to familiarity, lacking the freshness synonymous with Wong’s work. The script’s rough edges and pacing issues hinder its potential, yet the charm of Jude Law and Norah Jones’ on-screen chemistry manages to salvage some emotional resonance.

Synopsis: After a breakup, Elizabeth (Norah Jones) embarks on a road trip, encountering diverse characters. The film explores love and connections amidst creamy confections.

9. Ashes of Time (1994): A Wuxia Departure

Based on “The Legend of the Condor Heroes,” “Ashes of Time” diverges sharply from Wong’s established style. Its intricate plot and near-incomprehensibility demand a second viewing, emphasizing legendary heroes as introspective characters rather than mere martial arts archetypes.

8. As Tears Go By (1988): Exploring Early Stylistic Ventures

Wong’s directorial debut finds itself lower due to its connection to prevalent crime film trends and a less memorable plot. Starring Andy Lau, Jacky Cheung, and Maggie Cheung, it captures Wong in the process of discovering his distinctive style, hinting at the brilliance to come.

7. The Grandmaster (2013): Martial Arts with Philosophical Undertones

Wong’s recent feature, “The Grandmaster,” assumes the seventh spot, a testament to the exceptional quality of his filmography. Depicting the life of kung fu legend Ip Man, the film transcends the martial arts genre, delving into historical, regional, and economic facets with Tony Leung and Zhang Ziyi leading a stellar cast.

Synopsis: Ip Man, a legendary kung fu master, faces upheaval during China’s last dynasty, blending stunning martial arts with profound themes.

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6. Days of Being Wild (1990): Establishing Signature Visual Style

Ranked sixth, “Days of Being Wild” marks the beginning of Wong’s unofficial trilogy. Leslie Cheung’s Yuddy struggles with identity, and while the narrative might be less memorable, the film showcases Wong’s initial collaboration with cinematographer Christopher Doyle, establishing his signature visual style.

5. Fallen Angels (1995): Quirky Allure in Dual Stories

“Falling Angels,” sharing a rank with “Chungking Express,” intertwines absurd whimsy with gritty crime. Two distinct stories, one focusing on an assassin and his partner-in-crime, the other on a prison escapee, paint a vibrant picture of Hong Kong’s neon nights and Wong’s captivating characters.

Synopsis: An assassin and his partner, along with a prison escapee, navigate Hong Kong’s colorful neon nights, creating a cocktail of crime and whimsy.

4. Chungking Express (1994): Winsome Characters and Optimistic Notes

Ranked alongside “Fallen Angels,” “Chungking Express” is celebrated for its lightness and optimism. The film’s second story, featuring Faye Wong and Tony Leung Chiu-Wai, encapsulates Wong’s signature winsome charm in a swift 6-week production.

Synopsis: Two stories intertwine, one featuring a cop and a mysterious woman, the other with a recently dumped man and a snack bar worker, culminating in an optimistic finale.

3. Happy Together (1997): Chaotic Romance and Cultural Identity

“Happy Together” secures the third spot, celebrated for its chaotic romanticism and portrayal of a gay relationship. Set in Argentina, the film delves into themes of toxic love, loneliness, and alienation, embedding cultural identity nuances.

Synopsis: Ho and Lai navigate a tumultuous relationship, offering a poignant exploration of toxic love, loneliness, and cultural identity set against the backdrop of Argentina.

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2. 2046 (2004): A Pivotal Love Story with Sci-Fi Elements

For many, “2046” and the top-ranking film share a special place. This film, a pivotal point for the director, combines elements of sci-fi with a frame narrative. Tony Leung Chiu-Wai’s captivating performance and Wong’s narrative complexity make it a standout entry in Wong’s filmography.

Synopsis: Following “In the Mood for Love,” Chow Mo-wan observes lives in apartment 2046, offering a unique perspective on unfulfilled love and missed connections.

1. In the Mood for Love (2000): The Pinnacle of Subtlety and Longing

Clinching the top spot is the widely acclaimed “In the Mood for Love.” Revered for its restraint and subtlety, this unconventional Wong film explores the unexpected love between two individuals grappling with cheating spouses. The film’s poetic storytelling, cinematography, and Maggie Cheung’s iconic cheongsams contribute to its status as a cinematic masterpiece.

Synopsis: Two neighbors form a deep bond after suspecting extramarital activities in their spouses, opting to keep their connection platonic.

In the enchanting world of Wong Kar-wai’s films, each entry contributes to a rich tapestry of love, loss, and longing. Whether navigating the neon-lit nights of Hong Kong or exploring profound historical narratives, Wong’s films continue to captivate audiences, securing his legacy as a cinematic visionary.