Recently rented: … Robert Altman’s “The Player” and Wong Kar-Wai’s “Fallen Angels,” but we did see “In The Mood For Love” in the theater about a month ago.

At the end of Wong Kar-wai’s Fallen Angels, we find (QuickTime; ~9MB) two lovers on a motorbike, racing through an underground tunnel. Suddenly everything hits slow-motion and we sense that something is up ahead. What is it? Are they about to break out into the open country? No, the lovers break out into a financial district with a crop of corporate headquarters rising hazily up into the morning twilight. What is significant about this scene is that the city vs. country binary order and its related formations (evil/good, closed/open, dirty/ clean) are rejected, and as a consequence, Hong Kong (unlike the New York of Taxi Driver) is never questioned, doubted, viewed as a problem that must be corrected.

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