Much like with Wong’s previous features, reception at home was underwhelming, but Quentin Tarantino would raise the film’s international visibility significantly. With its dazzling photography, hallucinatory editing style, and consummately ‘90s combintion of ennui and quirk, it would become one of the key art films of the decade. In the intervening two months, Wong decided to take his camera to the streets of Hong Kong and shoot Chungking Express. Ashes of Time was a high-budget epic that would fit perfectly into the wuxia revival taking place in Chinese cinema during the ‘90s, but editing hit a snag when the crew had to wait for a specialized piece of sound equipment to arrive before they could fix garbled audio recorded during windy desert scenes. Wong Kar-wai decided to follow up his second film Days of Being Wild-a critical sensation but commercial flop-with a wuxia film, the Chinese equivalent of the Japanese samurai film but with more focus on the chivalric aspects of the story. Neither of those facts should have been the case. Chungking Express was Wong Kar-Wai’s third film to be released and his international breakout feature.
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