Tony Chiu-Wai Leung in a scene from РІР‚СљChungking ExpressРІР‚Сњ (Jet Tone Production, 1994)

It is then heightened as a hectic chase erupts, seeing Cop 223 going after a criminal across a busy street. This builds a sense of panic and disorientation, almost as if time is accelerating out of control. Here, Wong Kar-Wai and cinematographer Christopher Doyle employ their signature step-printing technique to jar the audience, stunting all movement between each frame. The smoky narrow passages and the feeling of a slow pursuit taking place all feel very noir. The audience just happens to have been thrown into a lethal game of cat and mouse as the Blonde-Wigged WomanРІР‚в„ўs drug smuggling operation goes sour. Wong Kar-wai uses the same tools for different means to set these tales apart.Р”Р‡rom the outset, Wong Kar-Wai paints the city as bustling and alive, promising many stories all playing out at once, just missing each other. Meanwhile, the second story is patient and has a hopeful warmth, revolving around change. The first story is more tense and sombre, with a lingering sense of urgency and an overall theme of expiration. Though the stories are two sides of the same wistful coin, where they diverge the most is in their tone. After secretly gaining access to his apartment, Faye begins regularly sneaking in while Cop 663 is away, fixing things up, playfully exploring his belongings and generally lifting everything out of its miserable state. Cop 663 becomes deeply dejected after his lover leaves him but continues to visit the food stall where they used to eat. This smoothly transitions into the second story of the film, following Faye (Faye Wong), a young woman who works at her cousinРІР‚в„ўs food stall and falls for regular customer Cop 663 (Tony Chiu-Wai Leung).

Chungking express review