Quote He is an artist who has a thorough insight into Hong Kong of the present stage most keenly, crowded streams of people, Chungking Mansions accommodating Chinese and foreigners, dark blue sky partitioned by the high-rises of Mong Kok, apartment windows with visible take-off and landing of airplanes at Kai Tak Airport, also roadside stands, convenience stores and dim bars. By virtue of these iconic elements, Karwai Wong constitutes a Hong Kong at the end of the century. The most typical examples are Chungking Express and Fallen Angels. Of course, the lonely and indifferent desert in Ashes of Time can also be considered as an allegorized modern city. Karwai Wong is an expresser of images who carry strong “urban susceptibility”. Due to the rootlessness and symbolization of modern cities, the content is usually hidden in form and style of his works. Or to say, the style itself is his content sometimes, which presents obvious postmodern cultural images. From the works of representative directors like Ann Hui, Patrick Tam and so on in the previous new wave of Hong Kong, you can easily feel “a sense of real life” which is used to support film style, but you cannot see these in the films of Karwai Wong.
Karwai Wong starts from the aesthetic view of modernistic films, boldly explores and breaks through the narrative structure, picture composition, rhythm changes and shooting techniques of films and forms a unique style. It is too rich. Just as what the book of Li Mi summarizes, “actor’s lines are with a strong taste of Haruki Murakami, magic realism, structuralism, stream of consciousness and postmodern literary style, blur lens of MTV, popular cool expressions of streets, Gu Long-style mottos, strong sentiments of reminiscence…All of these may be ‘the artistic charm’ of Karwai Wong’s films and make it hard for people to refuse.”
Karwai Wong forms a profound understanding of the city and times in which he lives and finds an appropriate way to express his life experience in such a special external environment.