Wong Kar Wai’s breakthrough sophomore feature represents the first full flowering of his swooning signature style. The first film in a loosely connected, ongoing cycle that includes IN THE MOOD FOR LOVE and 2046, this ravishing existential reverie is a dreamlike drift through the Hong Kong of the 1960s in which a band of wayward twenty-somethings—including a disaffected playboy (Leslie Cheung) searching for his birth mother, a lovelorn woman (Maggie Cheung) hopelessly enamored with him, and a policeman (Andy Lau) caught in the middle of their turbulent relationship—pull together and push apart in a cycle of frustrated desire. The director’s inaugural collaboration with both cinematographer Christopher Doyle, who lends the film its gorgeously gauzy, hallucinatory texture, and actor Tony Leung, who appears briefly in a tantalizing teaser for a never-realized sequel, DAYS OF BEING WILD is an exhilarating first expression of Wong’s trademark themes of time, longing, dislocation, and the restless search for human connection.