Wong Kar-wai's first export of signifiance is something of a work-in-progress; a softly contagious experience in which we bear witness to Asia's most idiosyncratic filmmaker in the midst of discovering his own cinematic style. Displaying signature themes of time, passing and lost moments, fragmented around interconnecting stories of violence and love, Days of Being Wild remains as a kind of modest post-80's landmark having emerged as an obvious "art" film amongst all the delirium, camp and spectacle of Hong Kong cinema at the time.

Psychedelic cult Japanese horror that's part Salvador Dali, part Twin Peaks, all Absurdism. Sort of a reaction against the proliferation of high-modernist Asian genre-horror, director Higuchinsky (yet another former music video maker) pulls out all manner of visual eccentricities to enlighten us on small-town evils, populated by Lynchian character archetypes (the pubescent female object of innocence, the sexually repressed Hardy Boy, the demonic father-figure), possessed by supernatural Marshall Macluhan vortexes.