The House Next Door blog has write ups of two of my favorite contemporary love stories: Wong Kar Wai's Days of Being Wild and Alex Cox's Sid and Nancy.
This is a director who has always positioned himself as a diasporal, transnational artist—and as a Shanghainese man raised in Hong Kong, perhaps that was always his fate. It’s not a stretch to envision My Blueberry Nights, however risible, as Wong’s idea of graduating from his own diaspora to big-time internationalism. No matter how tempting it is to treat his films as luxury art objects and ignore their sociopolitical underpinnings, their collective worldview is much broader than their chic surfaces suggest, and Days of Being Wild and its sequels in particular illustrate the Hong Kong identity in flux. What makes them resonate as a group is how they rhyme rootlessness and the ever-elusive “home” with the agonies of impossible love. IfMy Blueberry Nights reduced the Wong aesthetic to shtick, then a revisit to his first great film can shock us back into reverence. Almost 20 years later, the richness of its vision has only deepened.
And here's a bit from the Sid and Nancy piece:
Sid & Nancy, Alex Cox’s heartfelt take on the true-life relationship between Sex Pistols bassist Sid Vicious and his girlfriend Nancy Spungen—a love that ended when Sid stabbed Nancy to death in the Chelsea Hotel, then died of a drug overdose while awaiting trial—could easily have been just another rock biopic. Instead, through the use of fantasy-tinged reenactments (favoring the surreal in lieu of the straightforward), Cox transforms this gritty tabloid story into something deeper. It's a perfect example of finding truth through fictionalization.
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