A film by this director transitions from a black-and-white shot of the main characters walking down a highway to a colored, long, circulating aerial shot of the Iguazu Falls. Another of his films closes with an epigraph that declares "The past is something he could see, but not touch," following a series of shots through Angkor Wat. In a scene from one of his films, the main couple passes each other repeatedly on the stairs leading down to their favorite noodle shop. In an amazing shot by this director, a blur of people pass in and out of a snack bar while two characters remain still: a (*) cop drinking his coffee, and a short-haired girl whose leitmotif is "California Dreamin." A journalist and a secretary rent adjacent rooms in an apartment and, after learning th
A film by this director transitions from a black-and-white shot of the main characters walking down a highway to a colored, long, circulating aerial shot of the Iguazu Falls. Another of his films closes with an epigraph that declares "The past is something he could see, but not touch," following a series of shots through Angkor Wat. In a scene from one of his films, the main couple passes each other repeatedly on the stairs leading down to their favorite noodle shop. In an amazing shot by this director, a blur of people pass in and out of a snack bar while two characters remain still: a (*) cop drinking his coffee, and a short-haired girl whose leitmotif is "California Dreamin." A journalist and a secretary rent adjacent rooms in an apartment and, after learning that their respective spouses are cheating on them, begin an affair of their own, in a film by this director that forms a trilogy with Days of Being Wild and 2046. For 10 points, name this Hong Kong director of Chungking Express and In the Mood for Love.
A film by this director transitions from a black-and-white shot of the main characters walking down a highway to a colored, long, circulating aerial shot of the Iguazu Falls.
Wong Kar-Wai