文化藝術人物 / Cultural figure

王家衛

Wong Kar-wai

1988年–現在

領域:藝術家 · 作家與觀點論述者

繁體中文

王家衛1958年7月17日喺上海出世,五歲隨母親移居香港,來港初期只識講上海話,母親常帶他入戲院,種下佢對電影嘅興趣。他喺香港理工學院(今香港理工大學)修讀美術設計,畢業後喺無綫電視任編劇,八十年代以自由身編寫劇本,曾為譚家明寫《最後勝利》等片。1988年他自編自導首部電影《旺角卡門》出道,由劉德華同張曼玉主演,獲第8屆香港電影金像獎最佳導演提名。1990年嘅《阿飛正傳》以六十年代香港為背景,寫浪子旭仔同數段若即若離嘅感情,令他獲第10屆香港電影金像獎最佳導演,並確立其作者風格,片末梁朝偉對鏡梳頭嘅一幕成為經典。1992年他同劉鎮偉合組澤東電影公司,其後作品多由自家公司製作。1994年《重慶森林》用支離破碎嘅影像拍出都市人嘅孤獨,為他贏得第14屆香港電影金像獎最佳導演同最佳電影;同年《東邪西毒》把金庸武俠改寫成情感獨白,1995年《墮落天使》延續夜香港嘅疏離感。1997年他憑《春光乍洩》奪得康城影展最佳導演獎,係首位獲此獎嘅華人導演,該片以布宜諾斯艾利斯為背景,寫兩個港人嘅分合。2000年《花樣年華》把六十年代香港嘅曖昧同壓抑拍成世界級美學,梁朝偉憑此片獲康城最佳男演員,影片多年來喺各地影史評選名列前茅。2004年他拍《2046》,延續周慕雲嘅故事,靈感來自劉以鬯嘅《酒徒》;2007年首度執導英語片《藍莓之夜》。2013年他憑《一代宗師》再獲第33屆香港電影金像獎最佳導演,該片喺同屆金像獎奪十二項大獎。他2006年出任康城影展評審團主席,係首位擔任此職嘅華人。他嘅作品長期與攝影師杜可風同美術指導張叔平合作,形成獨特嘅視覺語言。他拍戲慣以即興方式進行、長年戴住墨鏡,作品圍繞時間、記憶同錯過,被視為香港文藝片嘅代表人物。他先後四度獲康城影展金棕櫚獎提名,2004年參與三段式電影《愛神》,執導其中《手》一段。2017年他獲法國里昂盧米埃爾影展頒發盧米埃爾獎。2023至2024年他首度執導內地電視劇《繁花》,改編金宇澄同名小說,講上海黃河路一帶嘅飲食男女。他重用梁朝偉、張曼玉、金城武同王菲等演員,其緩慢嘅拍攝節奏(《一代宗師》前後歷時十餘年)同對舊香港嘅凝視,令作品既係類型實驗,亦係時代紀錄。1988年嘅《旺角卡門》被視為九龍江湖片同王家衛風格之間嘅過渡,片中劉德華同張曼玉嘅含蓄感情已成雛形,佢拍片常無完整劇本,靠現場感覺同大量素材剪接而成。2013年嘅《一代宗師》以詠春宗師葉問生平為題,由梁朝偉飾演葉問、章子怡飾演宮二,片中嘅武打場面同美術風格再度引起討論,並代表香港入圍奧斯卡最佳外語片。《花樣年華》多年來獲多個國際影評組織列入史上最偉大電影名單,奠定佢喺世界影壇嘅地位。

English

Wong Kar-wai was born in Shanghai on 17 July 1958 and moved to Hong Kong with his mother at the age of five, speaking only Shanghainese at first; his mother often took him to the cinema and planted his love of film. He studied graphic design at the Hong Kong Polytechnic (now PolyU), then worked as a television scriptwriter at TVB and wrote freelance screenplays in the 1980s, including Patrick Tam's Final Victory. He made his directorial debut with As Tears Go By (1988), a self-written film starring Andy Lau and Maggie Cheung that earned him a Best Director nomination at the 8th Hong Kong Film Awards. Days of Being Wild (1990), set in 1960s Hong Kong and following the drifter Yuddy and his evasive romances, won him Best Director at the 10th Hong Kong Film Awards and established his auteur style; its closing shot of Tony Leung combing his hair became iconic. In 1992 he co-founded Jet Tone Films with Jeff Lau, and most of his later films were produced by it. Chungking Express (1994) captured urban loneliness through fragmented imagery and brought him Best Director and Best Film at the 14th Hong Kong Film Awards; the same year Ashes of Time recast Jin Yong's wuxia as emotional monologue, and Fallen Angels (1995) extended his nocturnal, alienated Hong Kong. In 1997 Happy Together made him the first Chinese director to win Best Director at the Cannes Film Festival; the film follows two Hong Kong men drifting apart in Buenos Aires. In the Mood for Love (2000) turned 1960s Hong Kong restraint and longing into world-class aesthetics, won Tony Leung the Cannes Best Actor prize and regularly ranks among the greatest films of all time. He followed it with 2046 (2004), continuing the story of Chow Mo-wan and drawing inspiration from Liu Yichang's novel, and with his first English-language film, My Blueberry Nights (2007). He won Best Director again at the 33rd Hong Kong Film Awards for The Grandmaster (2013), which swept twelve awards that year. In 2006 he served as president of the Cannes jury, the first Chinese director to do so. His films were long shaped by cinematographer Christopher Doyle and art director William Chang, and his improvised methods and signature dark glasses frame works obsessed with time, memory and missed chances. He was nominated for the Palme d'Or four times, contributed the segment The Hand to the three-part film Eros (2004), and in 2017 received the Lumiere Award in Lyon. In 2023-2024 he directed his first mainland television series, Blossoms Shanghai, adapted from Jin Yucheng's novel about the dining and social life around Shanghai's Huanghe Road. He repeatedly cast Tony Leung, Maggie Cheung, Takeshi Kaneshiro and Faye Wong, and his slow pace - The Grandmaster took more than a decade - and his gaze at old Hong Kong make his films both genre experiments and records of an era. As Tears Go By is often seen as a bridge between the Kowloon gangster film and his own style, and he frequently shoots without a finished script, assembling the film from what he feels on set and from a great deal of footage.

人物小檔 Profile

職業Occupation

導演、編劇

年期Active period

1988年–現在

代表作Notable works

《阿飛正傳》《重慶森林》《春光乍洩》《花樣年華》《一代宗師》

獎項及榮譽Awards & honours

康城影展最佳導演(1997)、香港電影金像獎最佳導演(1991、1995、2014)

資料整理日期 / Compiled: 2026-09-12

主要成就 Key Achievements

1991

憑《阿飛正傳》獲第10屆香港電影金像獎最佳導演。

Won Best Director at the 10th Hong Kong Film Awards for Days of Being Wild.

1997

憑《春光乍洩》獲第50屆康城影展最佳導演,為首位獲此獎嘅華人導演。

Won Best Director at the 50th Cannes Film Festival for Happy Together, the first Chinese director to take the prize.

2014

憑《一代宗師》獲第33屆香港電影金像獎最佳導演。

Won Best Director at the 33rd Hong Kong Film Awards for The Grandmaster.

影響與傳承 Impact & Legacy

繁體中文

王家衛以即興拍攝、碎片敘事同濃烈視覺,塑造出香港都市嘅時間同記憶。他令華語文藝片喺國際影壇取得前所未有嘅地位,1997年憑《春光乍洩》成為首位奪康城最佳導演嘅華人。他同杜可風、張叔平組成嘅班底,影響咗往後一代亞洲導演嘅美學取向。

English

Wong Kar-wai shaped an image of Hong Kong defined by time, memory and longing, using improvisation, fragmented storytelling and saturated visuals. He gave Chinese-language art cinema an international standing it had not previously held, becoming the first Chinese director to win Best Director at Cannes with Happy Together in 1997. The creative partnership he formed with cinematographer Christopher Doyle and art director William Chang influenced a generation of Asian filmmakers. His films continue to be studied and ranked among the finest of world cinema.

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