Wong Kar-wai’s Days of Being Wild

It’s strange and vivid; Wong Kar-wai’s Days of Being Wild, shot in such tight, impenetrable spaces, excuses the frivolity of youth. BFI calls this “the yawning existential ennui of youth” and I could just as simply and convincingly end this review here. Because that’s the perfect summation of the film.

Martin Heidegger once wrote in Being and Time, “Everyone is the other and no one is himself.” Why do we human beings be when being itself has such a paradoxical nature? The duality of desirability and distaste is so impermanent, so why do we desire at all? This film garners the strength to prove the innocence of such conflicting passions. Perhaps the impermanence itself elevates such encounters. Without the ticking lapses of time spent in loving, affection, desire and the lack of it, our lives would feel depleted.

The film shows itself as it is and as it has already been understood. But the beauty lies elsewhere. The beauty lies in the passing of the film. The unfolding of its characters, the closeness followed by the distance, it’s because of this that Days of Being Wild is memorable.

It forces you to ask yourself, “What would you do? How would you feel?” But soon enough, you understand that we don’t really know all the answers. We just pretend that we do. And make up a good way to conceal that in the moments we inhabit. Those recesses that are often inhabited by somebody else… days, weeks, months, perhaps years later. Only we can never know them.

2 Replies to “Wong Kar-wai’s Days of Being Wild”

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