Who has higher artistic achievement, Wong Kar-wai or Ang Lee?

Wong Kar-wai is a rare "author" in the Chinese film industry, especially in the highly commercialized Hong Kong film industry. He has always had a distinctive style, and his talkative monologues and casual sports scenes are relished by every pretentious man; He repeatedly discussed the themes of time, memory and drift; He has a high degree of local consciousness; Sunglasses King is really happy to sell his own "master" designer.

More importantly, Wong Kar-wai's modernist style with the color of stream of consciousness is very rare among the various styles appearing in China's film industry (Lou Ye may have made some achievements in this respect in his early days, but he is also suspected of imitating Wong Kar-wai). In this sense, Wong Kar-wai's position is extremely important.

Cultural level:

Whether it is the theme of "Desperate Wandering" that flooded Hong Kong screens before 1997, the theme of "Confusion and uneasiness" during the decade of 1997-07, or the theme of "Nostalgia for the past smells better than the present" after 2007, it is inseparable from Wong Kar-wai's works.

In the stories of Tears, Teddy Boy and the Ashes of Time, the fate of the characters appeared a hurdle. Everyone tried to cross or forget this hurdle, and everyone failed. They may be greeted by death or eternal entanglement. Looking back on the struggle between Hong Kong people and the "97 deadline" 97 years ago, Wong Kar-wai's gloom is the voice of the times.

The protagonists in Spring Break, In the Mood for Love and 2046 are obviously living under the teasing of fate. After betraying and being betrayed, they finally accepted their fate under the complex emotions of injustice and guilt.

A master is a representative of nostalgia. Supposedly, it is called a generation of grandmasters, and it should tell the growth story of a generation of grandmasters. Here in Wong Kar-wai, it is the master's midlife crisis. Everyone is remembering the glory of the past, and Hong Kong has naturally become the final destination of the masters after their tragic fate, thus becoming a gathering place for all homesickness.

Hong Kong in every era is inseparable from his expression, and his expression is always the most unique.

International influence:

1. Sunglasses King, John Woo and Ang Lee are all directors from China who really went abroad. Of course, the performance of Sunglasses King in the United States is far less than the latter two.

2. At the turn of the century, the isomorphic works of Jia, Wong Kar-wai and * * became the material and foundation for the western elites to construct the image of China.

3. In short, when western business or elites need some oriental faces, Wong Kar-wai must be one of the few people who can stand out from the crowd in China film industry. But when Sybil doesn't need it, the king of sunglasses has no ability to break into a world.