The True Story of A Fei is an urban film full of nostalgia. The film borrows the lost innuendo of a group of young people in the 1960s to project the anxiety, confusion and confusion of Hong Kong people before the handover in 1997-the inability to locate the past and the future And at a loss. The long-term colonial rule has left Hong Kong people with a sense of displacement and rootlessness that cannot be located historically and culturally. In the empty years, the "A Fei" were in full bloom with indifferent expressions. The whole film has a faint blue tone, and the ethereal lens, like a sigh, has flown over thirty years.
Ah Fei (Leslie Cheung) has no sense of belonging to the home of his adoptive mother, who has lived for many years, and insists on looking for his biological mother. He is full of novel yearning and inexplicable disappointment for his distant mother and homeland; Su Lizhen (Maggie Cheung) and Mimi (Carina Lau) are extremely Longing for a stable place where they can no longer wander, a place where they can feel safe and belong. The mentality of the characters in these plays is a portrayal of the lack of stability in Hong Kong before the handover. The process of Ah Fei's search for his biological mother is actually the retrospect of history in Hong Kong before the handover, the process of searching for roots, family affection and life.
"A minute before 3pm on April 16th 1960 you were with me because of you and I will remember that minute. We are friends for a minute from now on, that's a fact, you can't change it because already It's over." A Fei broke into Su Lizhen's emotional world with this minute of rogue and persistence. A minute of breathing, a minute of staring, a minute of affection, a minute of romance, a minute of vows, a minute of sweetness, a minute of warmth, and a minute of pampering. This one minute of memory that fascinated Su Lizhen forced her to never forget Ah Fei, but the one moment of lightness tempted Su Lizhen for a lifetime, and it became an unbearable lightness in her life.
Time never stops for anyone or anything, but memory always wants to save time and let it freeze, so time tries desperately to break free from memory. Ah Fei only wants to fly forward, and his unwillingness to stay is the same as the fluidity of time. Su Lizhen didn't understand the essence of time, she just wanted to enclose a minute's memory with sweetness, she longed for a warm family where she could live and stay. Ah Fei rejected him, his sense of rootlessness and drifting state made him unwilling to be bound and unwilling to take responsibility. Two people who wanted to seek lifelong protection from him - Su Lizhen and later Mimi were both rejected by him. When dependence becomes bondage, tenderness becomes a sin. The contradiction between time and memory is doomed that there will be no result between Ah Fei and the two women who love him.
Ah Fei's accuracy of time is a flattening of time, the digitization of memory, and the time limit of love—one minute before and one minute after, one minute is used as a scale to calculate the feelings projected by the subject in time. Gradient. Su Lizhen spent the last minute to review the previous minute, so she passed by the policeman (Andy Lau) who had a crush on her. Between them is a kind of escapism and a loss of choice. Su Lizhen hesitated for a minute-choice, the police diverted to running the boat for a phone call that might fail-to escape. Just after he left, the phone that he was waiting for at night rang. There are a lot of things, and if you miss a minute, you miss a lifetime. Just a minute of memory made Su Lizhen miss the happiness that truly belongs to her.
Looking for his biological mother is the strong behavioral motive and spiritual direction of Ah Fei's life, for which he has given up the chance of love several times. Wandering is for finding, and when he loses his target, Ah Fei is lost. What should be gained has not been obtained, and what should be lost has long been lost. The legend of the "footless bird" symbolizes Ah Fei's innate sense of rootlessness, alienation, wandering, confusion about the future, longing for infinity and destined loss. The movie takes off with Ah Fei, and with Ah Fei landing, obsession, fantasy and pain spread with the wind while flying. Youth is a kind of beauty, but also a kind of cruel. Wong Kar Wai used the mottled mirror of the 1960s to reflect the tired soul of the 1990s.
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