Film at Lincoln Center’s complete retrospective of Wong’s filmography offers the chance to see some of his lesser-known films.
Twenty years later, Wong Kar-wai’s celebrated film remains a master work of affect, though the eeriness of certain scenes sit more heavily given current events in Hong Kong.
New Yorkers could be forgiven this month for confusing their museum itineraries with the schedule of a vintage film festival, or an Anna May Wong-inspired Netflix binge.
China was, and will always be, in its heart of hearts, an empire — whether it is royal, revolutionary, or techno-bureaucratic-communist-cum-capitalist.
Can any theory about art’s mission be universal? Or is a theory, with its investment in a narrative of progress, more contingent and narrowly focused than the art world is willing to acknowledge — enthralled as it currently is with deskilling and relational aesthetics, as it once was with Greenbergian formalism? Isn’t a widely regarded theory (or vantage point) a sanctioned form of exclusion? An approved way of privileging one thing over another? A smart way of establishing a hierarchy while claiming to be aligned with Marxism?
The films I have chosen are not only incredible films, but also they are films I have loved for a very long time or they are films that I have grown to love after multiple viewings. A couple of them are stylish and cool, while others are extremely slow, difficult, and even tedious at times. However, they are all films that make the viewer think, and they are either films that comment upon film as an art form or are at the very least are aware of themselves as films. Hopefully people find the same joy in my recommendations as I do.