An intoxicating feast awaits as the ICA and BFI join forces in a retrospective of the Hong Kong auteur’s work, complete with seven new 4K restorations
Anyone who has spent any time in Film Twitter – that strange social media subdivision where critics, cinephiles and industry folk are united by a medium, but little else – knows that it doesn’t take much to spark a heated argument there. Earlier this month, revered Hong Kong film-maker Wong Kar-Wai was at the centre of one, as stills from a new Criterion restoration of his 2000 film In the Mood for Love were passed around. The new images, it seemed, had a greener tint than in previous editions: had the colour grade been altered? And given that the restoration had been supervised by Wong himself, was this an experiment on his part or an assertion of his original vision? Back and forth the tweets went, with no one much the wiser.
His very best films invite not simple viewing, but complete inhalation
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