“I Didn’t think we’d be like them”; or, Wong Kar Wai, Hongkonger

Polley views Hong Kong from many angles: population demographics, critical theory, vernacular criticism, the media, and autobiography. These intersect in the work of Wong Kar Wai. His 1960s’ trilogy-Days of Being Wild (1990), In the Mood for Love (2000), and 2046 (2004)-provides a discursive entry to a discussion of what the fractious identity marker “Hongkonger” speaks to 20 years after the 1997 handover to China. Wong’s films prize nostalgia, discontinuity, ambiguity, and deferral. Polley adopts a similar destabilizing approach. He makes a virtue of fragments, margins, and counter-narratives. Wong’s Hong Kong is not the global one of fast finance and free-markets. Polley’s Hong Kong, when reviewed through Wong’s lens, is assembled through competing paratexts, narrative layers that complement and contradict one another.