Fallen Angels (1995)★ 7.8/10
- Comedy
- Crime
- Drama
- Romance
Directed by: Wong Kar-Wai
Written by: Wong Kar-Wai
In the neon-drenched streets of pre-Handover Hong Kong, a disillusioned hitman seeks to break free from the criminal underworld and finds an unconventional connection with a prostitute. Simultaneously, a mute ex-convict evades the law while forming an unexpected bond with a mentally unstable woman, all set against the backdrop of a bustling metropolis teeming with loneliness and longing.
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Leon LaiWong Chi-Ming
Michelle ReisThe Killer's Agent
Takeshi KaneshiroHe Zhiwu
Charlie YeungCharlie
Karen MokPunkie
Fai-Hung ChanThe Man Forced to Eat Icecream
Man-Lei ChanHe Zhiwu's father
Toru SaitoSatoTo-Hoi KongAh-hoiLee-Na KwanWoman Pressed to Buy VegetablesYuhao WuMan forced to have his clothes washedKim-Wai WongHitman (uncredited)Videos
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Reviews
B
Brendon_NormanMarch 4, 2025
Brendon_NormanMarch 4, 2025Mirrors are a recurring motif in Wong Kar-wai’s films, symbolizing self-reflection and emotional suppression. In the film’s cramped spaces, mirrors reveal emotions and actions the camera doesn’t capture directly. Wong also masterfully plays with light and shadow to heighten the film’s emotional depth.
J
Jack_HessFebruary 28, 2025
Jack_HessFebruary 28, 2025The film’s heavy use of wide-angle lenses stands out, especially in Michelle Reis and Leon Lai’s subway entrance scenes. These shots distort the characters, emphasizing the instability of their lives and personalities. The handheld camera work further enhances this chaotic atmosphere.
C
Cara_AdamsMarch 16, 2025
Cara_AdamsMarch 16, 2025Los espejos son un motivo recurrente en las películas de Wong Kar-wai ya que simbolizan la autorreflexión y la supresión emocional. En los espacios reducidos de la película, los espejos revelan emociones y acciones que la cámara no capta directamente. Wong también juega magistralmente con la luz y la sombra para aumentar la profundidad emocional de la película.
B
brycebddMarch 12, 2025
brycebddMarch 12, 2025Destaca el uso intensivo del gran angular, especialmente en las escenas de entrada al metro de Michelle Reis y Leon Lai. Estas tomas distorsionan a los personajes, acentuando la inestabilidad de sus vidas y personalidades. El trabajo de cámara en mano realza aún más esta atmósfera caótica.
A
Alissa_HoffmanMarch 11, 2025
Alissa_HoffmanMarch 11, 2025Os espelhos são um elemento recorrente nos filmes de Wong Kar-wai, simbolizando a autorreflexão e a supressão emocional. Nos ambientes apertados do filme, os espelhos revelam emoções e ações que a câmera não capta diretamente. Wong também brinca magistralmente com luz e sombra para aumentar a profundidade emocional do filme.
M
Mario_WardMarch 7, 2025
Mario_WardMarch 7, 2025Destaca-se o uso intenso de lentes grande angulares no filme, especialmente nas cenas de entrada do metrô de Michelle Reis e Leon Lai. Essas tomadas distorcem os personagens, enfatizando a instabilidade de suas vidas e personalidades. O trabalho da câmera portátil aprimora ainda mais essa atmosfera caótica.
