Chungking Express (1994)
Directed by Wong Kar-Wai · Cinematography by Christopher Doyle, Andrew Lau Wai-Keung
PG-13102 min196 frames
DramaComedyRomance
If my memory of her has an expiration date, let it be 10,000 years...
Stills, screencaps & shots from Chungking Express
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Chungking Express — official trailer
What is Chungking Express about?
Two melancholic Hong Kong policemen fall in love: one with a mysterious underworld figure, the other with a beautiful and ethereal server at a late-night restaurant.
Chungking Express is a 1994 Hong Kong film, written and directed by Wong Kar-wai. The film consists of two stories told in sequence, each about a different lovesick Hong Kong policeman mulling over his relationship with a woman. The first story stars Takeshi Kaneshiro as a cop obsessed by his breakup with a woman named May and his encounter with a mysterious drug smuggler. The second stars Tony Leung as a police officer roused from his gloom over the loss of his flight attendant girlfriend by the attentions of a quirky snack bar worker.
Second paragraph from Wikipedia, available under CC BY-SA 4.0.
Where can you watch Chungking Express?
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Who stars in Chungking Express?
Who made Chungking Express?
What does the cinematography of Chungking Express look like?
Sampled across 196 frames, the coverage of Chungking Express leans on medium shots (69% of the sample) and close-ups (23%). Cinematographer Christopher Doyle keeps 45% of it in soft, low-key light. Night and dusk account for 67% of the frames. Vintage glass shapes the frame. Focus stays shallow in 92% of the frames, isolating subjects from their surroundings.
What is the color palette of Chungking Express?
The dominant colors across the sampled frames of Chungking Express (1994) are #2d2f2f, #0d0e0e, #f7f6f5, #d2d2d0, #1b2732, #2d384e — measured from the per-frame color data FrameThrower extracts for every film.
#2d2f2f#0d0e0e#f7f6f5#d2d2d0#1b2732#2d384e
See the full Chungking Express colour palette — every hex with its share, plus warmth, saturation and luminance.
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