Wong Kar-wai, of Chungking Express, Days of Being Wild, et al., demonstrates himself again to be a natural-born moviemaker, or shot-maker at any rate, with an offhand, on-the-run manner that makes light of his prodigious gifts. (The spirit of the French New Wave lives.) He toys here with film speeds; he switches capriciously from greenish black-and-white to coarse-grained color; he indulges a sensual feel for surfaces: brick, tile, wallpaper, woolen blanket, leather jacket, corduroy jacket, denim jacket, stencilled letters on shopwindows. (The principal setting is Buenos Aires, although the principal characters are from Hong Kong.) And in the current climate, it is refreshing and even liberating, despite stretches of monotony and pacelessness in the hop-skip-and-jump storytelling, to see a homosexual relationship depicted on screen without the necessity of public relations. The title, let's just say, is ironic. Leslie Cheung, Tony Leung. (1997) — Duncan Shepherd
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