What Is The Wong Kar Wai Aesthetic?
WRITTEN BY EVAN BYFORD
What is the Wong Kar Wai aesthetic?
Every movie is an ethereal piece of beauty and chaos coexisting with themes of love, loneliness, memory and self-discovery. The unique use of colours, cinematography, and storytelling creates an incredible atmosphere I can’t help but wish I could live in. Something I discovered myself recently is that Wong Kar Wai has become a huge influence on modern art. His vibrant and expressive use of rich colours and neon lighting as well as filmmaking techniques like step printing and depth of field, specifically in the 1995 film Fallen Angels has been frequently emulated on Instagram and TikTok. In addition, many cinematic traits in his movies have also influenced films and filmmakers of today.
His first two movies, As Tears Go By (1988) and Days of Being Wild (1990) is the birth of Wong Kar Wai as the legendary auteur that he is and laid the template for all his future efforts. Days Of Being Wild specifically is a film of moments, existing as a collection of bits that reveal the personality of events but not necessarily the story. It is a quiet film but has bursts of violence. Characters sand out in the rain, unable to wash away their pain. The relationships are rough, physical and confrontational, with interchangeable bodies as our lead replaces one woman with another. The arrogance of the loved is that they are not required to love back. He is a master at creating mood and atmosphere in his films through visuals, music and pacing. His emphasis on creating a distinct atmosphere has influenced filmmakers who recognize the importance of tone in storytelling. This includes the likes of Gus Van Sant and Barry Jenkins.
Wong Kar Wai has such a way with filming a scene in any setting from the perfect angle. Take Happy Together (1997) for instance, whether it’s a small room in Buenos Aires or an aerial view of Iguazu Falls. The viewer feels like an intruder at times in very intimate scenes. One of the notable features of the cinematography in movies like “Chungking Express” and “Fallen Angels” is the use of a handheld camera, contributing to a sense of immediacy and kinetic energy. The camera often follows characters through crowded streets and tight spaces, creating a dynamic and immersive feel. For example, in the opening sequences for both films, the camera moves swiftly through the bustling night markets, capturing the chaotic energy of the environment.
Though I have a more personal connection to the atmosphere of Chungking Express and Fallen Angels. In my opinion, Wong’s stylistic peak was 2000’s In the Mood for Love. A movie of choices and comfortable silences. The expression of love and desire in this film something I’ve never seen on screen before but is something I’ve felt at some point in my life. The camera angles, editing and tight spaces Wong puts you in with these characters make you feel the raw emotion that they struggle with considering the awkward circumstances they have been put in. His most critically acclaimed movie to date, having recently reached the top five of Sight and Sound’s 2022 poll for the greatest movies ever made. Wong Kar Wai’s films frequently explore the complexities of relationships. His portrayal of unrequited love, missed connections, and the passage of time in relationships has influenced the fact the character’s fates are not the primary focus of the film – rather, it centres around their individual journeys than the outcome. It would be reasonable that the characters have result of their artificial lives, where genuine experiences appear to be one step removed. Directors like Sofia Coppola and Richard Linklater have drawn inspiration from exploration of love.
Richard Corliss’ characterisation of Wong as “the most romantic filmmaker in the world” reflects the universal appeal of his films. Wong’s explorations of love, often infused with a sense of melancholy and nostalgia, resonates with audiences across cultural backgrounds. This timeless romanticism has to the enduring popularity of his works. Wong Kar Wai’s movies have also had a significant impact on today’s fashion, influencing designer’s, stylists, and fashion enthusiasts around the world. Wong’s films often use clothing as a means of expressing the emotional state of characters. The costumes become an integral part of the storytelling process, conveying mood and character development. This approach has influenced fashion photographers and designers to use clothing not just as garments but as a tool for storytelling and emotional expression.
WKW has a lot of imitators but his ability to embrace change and serendipity is what makes his films so special. He can adapt and change his stories when he sees what happens on the camera, without needing to follow a script. In fact, Wong Kar Wai often never has a fixed script and changes his endings. He’s used this as an analogy for how he makes films: “You plant a tree in the garden, and you expect it will be a perfect tree. But then something happens, maybe a storm blows off a branch – like when Leslie had to leave early when we were shooting Happy Together, and then you realize that it no longer looks the way you expected. So, to regain balance in your garden, you plant a bush over here” – as he scribbled on the right of the tree – “but for some reason it doesn’t grow as well as you like, so you plant a flower over here and one over there, but only one is nice, so you dig up the other one. And you keep doing this. Then, at some point you stop, and if you’re lucky, what you have will be beautiful. It won’t be what you expected, but the garden will still be beautiful”.