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Happy Together Poster

Title: Happy Together

Year: 1997

Director: Wong Kar-wai

Writer: Wong Kar-wai

Cast: Tony Leung (Lai Yiu-fai), Leslie Cheung (Ho Po-wing), Chang Chen (Chang), Gregory Dayton (Lover),

Runtime: 96 min.

Synopsis: A gay couple from Hong Kong takes a trip to Argentina in search of a new beginning but instead begins drifting even further apart.

Rating: 7.6/10

Shadows of Love in a Restless City: The Fragile Dance of Happy Together

/10 Posted on July 13, 2025
Wong Kar-wai’s *Happy Together* (1997) is a kaleidoscopic meditation on love’s impermanence, set against the humid, pulsating backdrop of Buenos Aires. The film follows Ho Po-wing and Lai Yiu-fai, a gay couple from Hong Kong whose cyclical relationship unravels in a foreign land. Wong’s direction is a masterclass in emotional texture, weaving longing and alienation through fragmented storytelling. The screenplay, co-written with Jimmy Ngai, thrives on subtext, with sparse dialogue that lets silences scream. The characters’ repetitive reconciliations and ruptures mirror the city’s own restless rhythm, creating a narrative that feels both intimate and universal.

Christopher Doyle’s cinematography is the film’s heartbeat. His use of saturated colors neon reds, sickly greens captures the feverish intensity of the lovers’ connection, while handheld shots evoke their instability. The Buenos Aires setting, far from the familiar neon glow of Wong’s Hong Kong, becomes a character itself: a labyrinth of dimly lit tango bars and cramped apartments that amplify the couple’s displacement. Yet, the film’s visual boldness occasionally overwhelms, with some shots lingering too long, as if Doyle and Wong couldn’t resist indulging their aesthetic impulses.

Leslie Cheung and Tony Leung deliver performances of raw vulnerability. Cheung’s Po-wing is a mercurial figure, oscillating between charm and cruelty, while Leung’s Yiu-fai anchors the film with quiet devastation. Their chemistry is palpable, but the screenplay’s focus on their toxic dynamic leaves little room for secondary characters, like Chang (Chang Chen), whose subplot feels underdeveloped. The music, a blend of Astor Piazzolla’s sultry tangos and Frank Zappa’s eclectic riffs, underscores the emotional volatility, though its eclectic nature can feel jarring in quieter moments.

What sets *Happy Together* apart is its refusal to romanticize love. Wong portrays it as a force both vital and destructive, a dance where partners step on each other’s toes. The film’s flaw lies in its emotional relentlessness; the lack of respite can leave viewers as exhausted as the characters. Yet, this intensity is also its triumph, offering a raw, unfiltered look at human connection in a world that feels perpetually out of reach.
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