observes the ultra-modern side of the city some 15 years later through the eyes of a woman trapped inside a personal hell. Shu Qi plays the troubled lead Vicky, a high school dropout living aimlessly with her abusive, unemployed boyfriend Hao-Hao in the city. She dreams of leaving him for a better life, but no matter how many times she tries he always wins her back.
Much of the film takes place inside the city’s bustling, neon-soaked night clubs, where the UV lasers, colour-clashing rave-wear and a constant, throbbing techno soundtrack emphasise Vicky’s entrapment. Even at home, she is overwhelmed in shots by cheap booze, Y2K drug paraphernalia and Hao-Hao’s wired sexual advances.
The dialogue is minimal, with the film instead punctuated by the sounds of creeping footsteps and crickets. The aspect ratios and colour schemes evolve throughout, as scenes switch from opulent palaces and temple rooftops to verdant green forests and mountain silhouettes. It is a slow, deliberate film – the product of a determination by the director and cinematographer to find a new angle in martial arts cinema.
The film was shot by Mark Lee Ping-bing – a Cannes Grand Technical Prize winning photographer favoured not only by Hou (whom he partnered for
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