William Chang Movies

Master Hong Kong filmmaker Wong Kar-Wai directed this lyrical, dream-like martial arts epic. A famously troubled shoot, the film took two years and 40 million dollars to produce (a shocking sum for a national cinema populated with low-budget quickies) and features a virtual who's who of the Hong Kong film world. Conceived as a prequel to the popular martial arts novel The Eagle-Shooting Hero by Jin Yong, the movie is less a straightforward action thriller than a visually striking meditation on memory and love. It nominally centers on Ouyang Feng (Leslie Cheung), who ekes out a lonely existence as an itinerant hired sword. Getting on in years and tormented by memories of a lost love, he also works an agent for other mercenary assassins from his remote desert abode. Ouyang's old friend and fellow swordsman, Huang Yaoshi (Tony Leung Kar-Fai, who starred in the The Lover) drowns his lovelorn misery in a magical wine that makes him forget. Later, a mysterious young man named Murong Yang (Brigitte Lin) hires Ouyang to kill his sister's unfaithful suitor, Huang Yaoshi. The following day, that spurned sister, Murong Yin (Lin again), hires Ouyang to protect her dearly beloved. Meanwhile, Hong Qi (pop star Jacky Cheung) finds some redemption for a life of killing by accepting a poor girl's offer to avenge her brother's death -- a task that Ouyang brusquely shunned. In another subplot, a master swordsman (Tony Leung Chiu-Wai) is slowly going blind. He agrees to defend a village from horse thieves so that he can afford to go home and see his wife before his eyesight fails completely. This film is one of the most celebrated examples of 1990s Hong Kong cinema: it won multiple awards in its native Hong Kong, along with a Golden Osella for Best Cinematography at the 1994 Venice Film Festival.

In the years following Ashes of Time's initial theatrical release, the original negatives were lost and multiple versions of the film began to crop up all across the globe. As a result, director Wong Kar-wai longed to compile these various versions into a restored, remastered, and definitive final cut. With Ashes of Time Redux, the director restructures the film according to seasons, effectively clarifying the central narratives, and digitally colorizes the film to render cinematographer Christopher Doyle's masterful imagery all the more lavish and intoxicatingly gorgeous. ~ Jason Buchanan, All Movie Guide

Hong Kong-based filmmaker Wong Kar-Wai moves back and forth in time as he reexamines and amplifies the themes from his film In the Mood for Love in this offbeat romantic drama. Opening in the year 2046, in which a man named Tak (Takuya Kimura) attempts to persuades wjw 1967 (Faye Wong) to travel back in time with him, the film soon shifts to the year 1966, in which Chow Mo-wan (Tony Leung Chiu-wai), a struggling author, asks the woman he loves, Su Lizhen (Gong Li) to sail with him from Singapore to Hong Kong on Christmas Eve. She declines, and over the next three years, we return to Chow Mo-wan on December 24 as he finds himself with another woman each year -- lighthearted Lulu (Carina Lau) in 1967, eccentric hotel heiress Wang Jingwen (Faye Wong) in 1968, and Bai Ling (Zhang Ziyi), a high-class prostitute, in 1969. In time, Chow Mo-wan and Wang Jingwen become reacquainted, and a love affair blooms, but the fates are not on their side. 2046 had its world premiere at the 2004 Cannes Film Festival. A re-edited version featuring an additional 4 minutes of footage, but minus sequences by martial arts coordinator Tung Wai) premiered in late 2004. ~ Mark Deming, All Movie Guide

Stanley Kwan, one of Hong Kong's few openly gay filmmakers, directed this drama that blends a same-sex love story into a tableau of China's tumultuous recent history. In 1988, Lan Yu (Liu Ye) is a college student from rural China who has just arrived in Beijing, where he intends to pursue his studies -- and where he begins to acknowledge his sexual leanings. While visiting a gay bar, Lan Yu meets Handong (Hu Jan), a successful businessman whose father is an important Communist Party official. Handong finds Lan Yu attractive and they begin an affair, but while this marks Lan Yu's first significant relationship with another man, Handong thinks little of it and soon takes up with another handsome student. Lan Yu is crushed by Handong's infidelity and breaks off their relationship, but several months later, Handong discovers Lan Yu is one of the students demonstrating against the Communist leadership in Tiananmen Square. Worried after the student massacre by Chinese troops, Handong tracks down Lan Yu and discovers he survived the attack. Lan Yu and Handong soon pick up their relationship where they left off, but Handong is afraid that if his sexual orientation becomes public knowledge, it will ruin his business, so he breaks off with Lan Yu and marries a woman in a failed bid to become more "respectable." Lan Yu is based on a Chinese erotic novel known as Beijing Story, which circulated on the Internet with authorship credited to "Beijing Comrade." ~ Mark Deming, All Movie Guide

For his first film since the 1997 Hong Kong handover, auteur filmmaker Wong Kar-wai directs this moody period drama about unrequited love that, like his earlier work, swoons with romantic melancholy. Set in a Shanghaiese enclave in Hong Kong in 1962, the film centers on two young couples who rent adjacent rooms in a cramped and crowded tenement. Li-zhen (Maggie Cheung) works as a secretary in an export company while her husband's job at a Japanese multinational keeps him away on extended business trips. Across the hall, Chow (Tony Leung Chiu-wai) works as a newspaper editor and is married to a woman who is also frequently out of town. Neither respective spouse is ever shown in full, instead they are shot from the back or obscured by walls and furniture. Li-zhen and Chow soon strike up a cordial -- if tenative -- friendship. Chow begins to suspect that his wife's long absences are not entirely business related when he stops in unannounced at her office to discover that she is not there. Later, a colleague tells him that he saw his wife with another man. The icing on the cake comes when Chow notices that Li-zhen's handbag is identical to his wife's while Li-zhen discovers that Chow is wearing a tie that she gave her husband; it doesn't take long for them to realize that their spouses are sleeping together. Drawn together by shame and anger, Chow and Li-zhen reveal nothing of their discoveries to their partners. While working through their guilt by imagining how their adulterous spouses first hooked up and rehearsing interrogations, the pair slowly fall in love in spite of their determination to uphold their end of their marital vows. In the Mood for Love, which was screened in competition at the 2000 Cannes Film Festival, barely made it to the fest's final slot; Wong Kar-wai was reportedly shooting scenes in Cambodia a week prior to the festival. ~ Jonathan Crow, All Movie Guide

In this anthology film, Hong-Kong actress Sandra Ng portrays five different characters in four segments: a hooker who stalks her own therapist; a mute immigrant wife who must continually pacify her brutish husband; a timid invalid whose twin sister is a businesswoman and cross-dresser; and a mundane housewife who uses a TV game-show as a forum to dwell on her personal life. Shown at the 1998 Vancouver Film Festival. ~ Bhob Stewart, All Movie Guide

With a marvelously convoluted plot and featuring plenty of slapstick action, Chinese Feast is essentially a kung-fu film with a tasty twist: the combatants battle with knives, not to carve each other up but to make exquisite culinary delicacies. The story's impetus comes from a long-standing feud between cooking schools and centers on an upcoming cook-off in which two master chefs compete to present the most delicious version of the Qing & Han Imperial Feast staples -- monkey brains, bear paw, and elephant trunk. ~ Sandra Brennan, All Movie Guide

Wong Kar-wai's Fallen Angels is a sequel of sorts to the director's 1994 U.S. breakthrough Chungking Express. Expanding on the latter's style, themes, and mood, Fallen Angels is set in the surreal milieu of urban, nighttime Hong Kong. As with the filmmaker's other features, plot takes a back seat to mood. The wisp of a narrative intercuts two story lines. The first follows a hitman (Leon Lai) who finds that the assassin's life has slowly lost its allure. Complicating his life is his beautiful contact (Michele Reis, a former Miss Hong Kong winner) who pines after him with fetishistic ardor, although the two have never met in their nearly three-year partnership. In another part of the city, He (Takeshi Kaneshiro), a mute, boyish ex-convict, makes a living by sneaking into and running businesses after hours. Still living with his father who runs the Chungking Mansions hotel, the restless Ho falls for Cherry (Charlie Yeung), a woman getting over her breakup with the offscreen Johnny. The movie follows these episodic romances almost half-heartedly as with Wong's other films, and digressionary moments attract much of the camera's distracted gaze. This visually stylish and unabashedly effusive work is considered by some critics to be the quintessential Wong film. ~ Elbert Ventura, All Movie Guide

This dramatic film compares and contrasts Chinese and American cultures. It is based upon real events which took place in New York during the mid-'80s when a deranged white male pushed a Hong Kong immigrant off a subway platform. The movie begins in modern Hong Kong and follows the life of Mo-yung, a middle class single woman. In order to get her out of Hong Kong before the Chinese take over the colony in 1997, her parents arrange for her to marry a Canadian man. But Mo-yung demurs and instead follows Benny, a hip, but shady photographer, to New York. Benny is doing more than taking pictures and frequently shuttles between Hong Kong and New York. Her involvement with Benny gets Mo-yung into real trouble. While in New York, Mo-yung meets Rubie, a half white woman who is being followed by a crazy Caucasian schoolteacher with an obsession for Asian women. ~ Sandra Brennan, All Movie Guide

The third installment in the Hong Kong Swordsman trilogy is intended to recapture the success of the second film, including its gender-bending performance by Brigitte Lin. Lin reprises her role as Asia the Invincible, a swordsman whose use of a supernatural scroll caused him to turn into a woman. The scroll is once again the object of contention. Resurrected from the dead, she finds that everyone from Japanese ninjas to the Spanish navy are after the scroll. She is confronted by further gender complications when a woman named Snow Joey Wong, a former lover of Asia, assumes Asia's male identity. ~ Jonathan E. Laxamana, All Movie Guide

In this second of three "Swordsman" martial arts thrillers, the swordsman Ling Jet Li is traveling with his sister to a religious retreat when they are informed that the leader of the sect has been captured by a mysterious being who has been transformed into a nearly immortal woman through the agency of a sacred scroll. At the same time, the Japanese are once again threatening to take over the Chinese mainland, and this dire fate can only be thwarted by a heroic few. ~ Clarke Fountain, All Movie Guide

Following up on his debut As Tears Go By, master filmmaker Wong Kar-Wai directs this dark, brooding tale about identity and unrequited love. Set in 1960, the film center of the young, boyishly handsome Yuddy (Leslie Cheung), who learns from the drunken ex-prostitute who raised him that she is not his real mother. Hoping to hold onto him, she refuses to divulge the name of his real birth mother. The revelation shakes Yuddy to his very core, unleashing a cascade of conflicting emotions. Two women have the bad luck to fall for Yuddy. One is a quiet lass who works at a sport arena named Su Lizhen (Maggie Cheung), while the other is a glitzy showgirl named Mimi (Carina Lau). Perhaps due to his unresolved Oedipal issues, he passively lets the two compete for him, unable or unwilling to make a choice. As Lizhen slowly confides her frustration to a cop named Tide (Andy Lau), he falls for her. The same is true for Yuddy's friend Zeb (Jacky Cheung), who falls for Mimi. Later, Yuddy learns of his birth mother's whereabouts and heads out to the Philippines. This film won a armful of trophies at the Hong Kong Film Awards, including Best Director, Best Actor for Leslie Cheung, and Best Picture. ~ Jonathan Crow, All Movie Guide

Hong Kong auteur Wong Kar-wai makes his feature film debut with this gritty romantic crime-drama inspired by Scorsese's Mean Streets. The film opens with young gangster Wah (Andy Lau) getting a visit for the day from his beautiful cousin Ah-Ngor (Maggie Cheung), who is coming into Kowloon from the remote outlying Lantau island to receive medical treatment for a lung condition. At first, the short-fused gangster and the quiet country girl have little in common, but gradually the two start to form a bond of sorts. Meanwhile, Wah's buddy Fly (Jacky Cheung), who has an absolutely volcanic temper, is always getting Wah into hot water. Even though Wah knows that Fly is bound to end up dead soon, he stands by his foolhardy friend. After some hesitation, Wah -- who has fallen for Ah-Ngor -- visits his cousin on Lantau, hoping to make their relationship more than family. Fly later infuriates a psychopathic mob boss, Tony (Alex Man Chi-leung who, along with his henchmen, beats and degrades Fly and Wah. This induces Fly make amends with Tony by undertaking the outrageously difficult task of rubbing out an informant who is in the custody of the cops, before the man has the opportunity to testify in a court hearing.

~ Jonathan Crow, All Movie Guide