This film serves as a companion piece to Chungking Express (1994), and it’s presented as a separate project due to its extended length and variations from its predecessor. Like the initial installment, this one interweaves two narratives: one centers on a hitman, Leon Lai Ming, who is trying to move away from his profession and his associate—a woman who cleans his apartment while he's gone and harbors a secret affection for him—as he encounters another girl nicknamed blondie. The second story follows an ex-convict, Ho Chi-mo (Takeshi Kaneshiro), who is unable to speak and lives with his father, engaging in nighttime burglaries to sell goods and services (which includes a connection back to Chungking Express). He repeatedly crosses paths with another woman named Charlie, who has lost her girlfriend to blondie. There's also a brief encounter between characters from the first story toward the end. Although it shares themes with Chungking Express, this film distinguishes itself through the cinematography of Christopher Doyle, who primarily shoots at night and employs extreme wide-angle lenses. The camera is positioned very close to the actors, creating a sense of detachment from their surroundings; the resulting distortion in the images conveys a feeling of distance even when they are near each other, highlighting the characters’ isolation. The visuals are chaotic, blurry, and bathed in neon light. Camera work includes tracking shots, black-and-white sequences, and handheld footage. A notable difference is the incorporation of voiceovers—representing internal thoughts—instead of dialogue, along with pop songs, mostly Cantonese versions of various tracks. Some selections are Western, such as Laurie Anderson's instrumental "Speak My Language" and The Flying Pickets’ rendition of “Only You” by Vince Clarke (during his time with Depeche Mode). I would rate it 8.7 out of 10—an A grade—and consider it a film worth seeing from an earlier period, before the city's handover to China in 97.

Source on TMDB