Yiu-Fai and Po-Wing arrive in Argentina from Hong Kong and take to the road for a holiday. Something is wrong and their relationship goes adrift. A disillusioned Yiu-Fai starts working at a... See full summary »
A disillusioned killer embarks on his last hit but first he has to overcome his affections for his cool, detached partner. Thinking it's dangerous and improper to become involved with a ... See full summary »
A graying black-clad swordsman slays palace guards, as he flies through the air to an uncertain purpose. Centuries (or is it days?) later, gun-toting, Armani-clad super policemen -- Hong ... See full summary »
Providing an image of the daily life of ordinary Shanghai people, the story is carried out over two periods: from the 1960s to the mid-1970s, the end of the Cultural Revolution; and from the 1980s to the start of the 21st century.
Yiu-Fai and Po-Wing arrive in Argentina from Hong Kong and take to the road for a holiday. Something is wrong and their relationship goes adrift. A disillusioned Yiu-Fai starts working at a tango bar to save up for his trip home. When a beaten and bruised Po-Wing reappears, Yiu-Fai is empathetic but is unable to enter a more intimate relationship. After all, Po-Wing is not ready to settle down. Yiu-Fai now works in a Chinese restaurant and meets the youthful Chang from Taiwan. Yiu-Fai's life takes on a new spin, while Po-Wing's life shatters continually in contrast. Written by
Perry Yu <firstname.lastname@example.org>
Tony Chiu Wai Leung was unaware that his character does boxing. Kar Wai Wong made Chiu Wai take boxing lessons and later filmed fight scenes that were cut from the final film. Wong said Chiu Wai's performance was improved because of the energy he had from boxing. See more »
Before Fai push starts the old car, the engine has already started while it is standing still. See more »
Do you regret being with me?
Damn right I do! I had no regrets until I met you. Now my regrets could kill me.
See more »
In some prints, Jacques Picoux (the French subtitle translator) is listed twice in a row in the closing credits. See more »
Aw-kommon's notes on "Happy Together" are typical of those who cannot approach a film without aligning it with definite paradigms and secure standards. In this case, the paradigm is "Midnight Cowboy" -- a film that belongs to a totally different genre, was written and shot according to "naturalistic" procedures of Hollywood commercial cinema and, most of all, deals with romance from a quite different perspective. In "Midnight Cowboy" redemption of homoeroticism comes through death, a strategy that was quite revealing of the morals that prevailed at the time the movie was produced. "Happy Together", on the other hand, deals with romance as if it could have been homo-, hetero- or whatever, and even though homoeroticism is such an essential element to the narrative, the protagonists'love affair is a pretext for the emergence of their decentered identities, their search for love and friendship and, most important, it ends on a note of hope of future encounters. All that in a poetic tone, one that demands a continuous esthetic reconstruction, hardly understood (or accepted) by those who are encapsulated in a world of conventional filmmaking.
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