3. To what extent do you recognise the film you have studied as the work of an experimental Auteur? [20] 

Fallen Angels is full of film form elements that are identifiable as Auteur features of the director Wong Kar Wai. For example, during the assassination sequence, the mise en scene is typical of Wong Kar Wai, due to the use of a Hong Kong night scape and rain. The sound is also typical of Wong Kar Wai, such as the use of a pop song to evoke a specific feeling, and not being used ironically. However, in the assassination sequence there are also film form elements that are both Auteur features and experimental features. Such as, the various forms of time manipulation. For example, the use of step printing, which is used to emphasise the themes of loneliness and isolation as it separates the character from everyone else on screen. Moreover, there is also use of slow motion which again is used to create a feeling. This makes sense as Wong Kar Wai films usually are made to evoke feelings, rather than focus on a clear narrative. Another example of a Wong Kar Wai film like this is Chungking Express, which in many ways is attached to Fallen Angels, as Fallen Angels would have been the third story to Chungking Express, if it wasn’t already too long. 

Moreover, the assasination scene also includes more film form elements that are typical of Wong Kar Wai, as well as experimental. Such as, the wide angle lens. Wong Kar Wai uses a wide angle lens a lot in his films, and it tends to distort the faces of the actors, such as in the close up of the female character in the opening of the movie. Moreover, dynamic editing is used during the assasination sequence, like the many jump cuts used, often to seemingly random places in the scene. This helps to create an emotional response in the audience, possibly tension, as the jump cuts are definitely not used for narrative purpose. There is also dynamic editing in the opening of the movie, such as the break of the 180 degree rule (which can also be seen as experimental), the lack of continuous shots, and again the use of jump cuts. 

Typical of Wong Kar Wai, the opening has strong feelings and exploration of the theme loneliness. This is partially done through time manipulation, like the sped up shot of the train (and plant) which has a feeling of emptiness, and therefore loneliness. Moreover, sound is used to connote the feeling of loneliness. The diegetic noises tend to sound tinny and phasing, which has an echoey feel which again links to loneliness. The narrative repetition of the two characters doing the same thing, such as the close up of retrieving the keys and both entering the same house, but at different times also links into this theme as the characters are far removed from one another despite doing the same thing. This is emphasised by the train station scene which is done once with the woman and once with the man, and how they go the same route separately but how the dynamic editing in both scenes are the same.