Ambientado em Hong Kong, segue a vida de um assassino, na esperança de sair do negócio, e de sua parceira de vida.Ambientado em Hong Kong, segue a vida de um assassino, na esperança de sair do negócio, e de sua parceira de vida.Ambientado em Hong Kong, segue a vida de um assassino, na esperança de sair do negócio, e de sua parceira de vida.
- Prêmios
- 8 vitórias e 15 indicações no total
Michelle Reis
- The Killer's Agent
- (as Michele Reis)
Man-Lei Chan
- He Zhiwu's father
- (as Chen Man Lei)
Avaliações em destaque
The following was excerpted from a wonderful essay by Momus, and nicely highlights the themes that this film is all about (which are totally missed by the complainers here who called it boring).
"Isolated, impulsive heroes, nocturnal locations, cool music... a violent world in which sensitive people nevertheless continue to dream romantic dreams indifferent to the surrounding carnage.
In 'Fallen Angels' this happens quite literally: Agent girl Michelle Reis moons and munches dreamily in the wideangle foreground while in the background a triad fight happens in slow motion.
It's the Walkman syndrome, a thing you notice when you visit the orient. The bigger the population, the more busy the city, the more people develop the ability to retreat into an inner isolation, the space of a snackbar, a tatami mat, a computer screen, a song playing on headphones.
In the next century we will all live like this.
Wong Kar Wei maps out a perfectly postmodern, perfectly oriental psychogeography of small, busy places which nevertheless become the spawning ground of ultra-private obsessions and infatuations. Love in his films is more likely to be expressed by someone breaking into your apartment and tidying it, or by masturbation, than a healthy clinch. It is the mindset of ultrafetish, and cinematographer Chris Doyle puts it into images: a clear plastic sheath worn over a Chinese silk dress, a mute riding the corpse of a pig in an abattoir, a blow up sex doll with its head stuck in an elevator door, being kicked insanely by a couple of ultra-romantic maniacs.
And there is the real star, the traum-city itself. Corridors, subways, neon, time lapse, travelators and low flying jets, trains, shopping arcades, Chung King Mansions stuffed to the gullets with sullen, sweating people cooled by antique electric fans, the scheming tattooed triads, outbursts of random violence, warehouses, chopping knives, video cameras, motorbikes speeding through tunnels, the multi-racial hand in hand with the super-commercial... Hong Kong insinuates itself into our imaginations as the ubertraumstadt, the place of ultimate nightmare and ultimate romance, where beauty is all the more poignant for its dark, cheap, pitiless setting and dreams are all the more necessary."
"Isolated, impulsive heroes, nocturnal locations, cool music... a violent world in which sensitive people nevertheless continue to dream romantic dreams indifferent to the surrounding carnage.
In 'Fallen Angels' this happens quite literally: Agent girl Michelle Reis moons and munches dreamily in the wideangle foreground while in the background a triad fight happens in slow motion.
It's the Walkman syndrome, a thing you notice when you visit the orient. The bigger the population, the more busy the city, the more people develop the ability to retreat into an inner isolation, the space of a snackbar, a tatami mat, a computer screen, a song playing on headphones.
In the next century we will all live like this.
Wong Kar Wei maps out a perfectly postmodern, perfectly oriental psychogeography of small, busy places which nevertheless become the spawning ground of ultra-private obsessions and infatuations. Love in his films is more likely to be expressed by someone breaking into your apartment and tidying it, or by masturbation, than a healthy clinch. It is the mindset of ultrafetish, and cinematographer Chris Doyle puts it into images: a clear plastic sheath worn over a Chinese silk dress, a mute riding the corpse of a pig in an abattoir, a blow up sex doll with its head stuck in an elevator door, being kicked insanely by a couple of ultra-romantic maniacs.
And there is the real star, the traum-city itself. Corridors, subways, neon, time lapse, travelators and low flying jets, trains, shopping arcades, Chung King Mansions stuffed to the gullets with sullen, sweating people cooled by antique electric fans, the scheming tattooed triads, outbursts of random violence, warehouses, chopping knives, video cameras, motorbikes speeding through tunnels, the multi-racial hand in hand with the super-commercial... Hong Kong insinuates itself into our imaginations as the ubertraumstadt, the place of ultimate nightmare and ultimate romance, where beauty is all the more poignant for its dark, cheap, pitiless setting and dreams are all the more necessary."
Wong Kar-wai's Fallen Angels dives headfirst into the cultural alienation and milennial dread of modern-day Hong Kong. The film has a distinctly detached feeling about it that is certainly close to what its characters must feel. Some scenes are hypnotic and dreamlike, while others seem brutally real. The film's characters always seem to be wandering, or, perhaps, simply going through the motions of life. The voice-overs - which Wong uses as effectively as any director since the heyday of Terrence Malick - effectively add an extra dimension to the characters. The ending of Fallen Angels is one of the most beautiful, poetic, and true ever filmed.
While this film's predecessor, Wong's Chungking Express is a wonderful, exceptional movie, Fallen Angels is ultimately superior - a masterpiece that Wong only surpassed with his last film, the astonishing In the Mood for Love. Still, while In the Mood for Love may be Wong's best film to date, Fallen Angels remains (as it probably always will) the quintessential Wong Kar-wai picture in that it perfectly embodies the bold, Godardian, recklessness that the name Wong Kar-wai immediately brings to mind. 10/10
While this film's predecessor, Wong's Chungking Express is a wonderful, exceptional movie, Fallen Angels is ultimately superior - a masterpiece that Wong only surpassed with his last film, the astonishing In the Mood for Love. Still, while In the Mood for Love may be Wong's best film to date, Fallen Angels remains (as it probably always will) the quintessential Wong Kar-wai picture in that it perfectly embodies the bold, Godardian, recklessness that the name Wong Kar-wai immediately brings to mind. 10/10
I love Chungking Express, and its "predecessor" Fallen Angels is okay, kind of like the prelude to Chungking Express. The night shots draw you into Hong Kong in a way the tourism promos don't for sure. You see Fallen Angels for the experience.
Movie is beautifully shot, cinematography is great, the atmosphere and colors, slow motion shots and visual effects are all great. Some parts are extremely boring but it fits the vibe of loneliness and sad lives the characters have. Film seems way longer than it actually is. I appreciate the visual side, characters are extrime but it still gets you tired from watching.
Visually stunning, with so many effects and shots - the neon lights, reflections, colors, wide angle lens, low frame rate, handheld camera, titled angles - and they all work without seeming like gimmicks, giving the film great style. I just wish the story and feelings had been as profound as the cinematography.
Você sabia?
- CuriosidadesAll scenes take place during night time.
- Citações
He Zhiwu: Most people fall in love for the first time as teenagers. I guess I'm a late bloomer. Maybe I'm too picky. On May 30, 1995, I finally fell in love for the first time. It was raining that night. When I looked at her, I suddenly felt like I was a store. And she was me. Without any warning, she suddenly enters the store. I don't know how long she'll stay. The longer the better, of course.
- ConexõesEdited into A Moment in Time (2010)
- Trilhas sonorasKarmacoma
Written by Tricky, Robert Del Naja, Andrew Vowles, Grant Marshall, Tim Norfolk and Bob Locke
Performed by Massive Attack
Principais escolhas
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- How long is Fallen Angels?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Idiomas
- Também conhecido como
- Ángeles caídos
- Locações de filme
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- HK$ 7.476.025 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 163.145
- Fim de semana de estreia nos EUA e Canadá
- US$ 13.804
- 25 de jan. de 1998
- Faturamento bruto mundial
- US$ 258.936
- Tempo de duração1 hora 39 minutos
- Cor
- Mixagem de som
- Proporção
- 1.85 : 1(original ratio)
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