Abstract
When Sparrow premiered in Hong Kong during early 2008 and later at the Berlin Film Festival, most audiences and critics noted a distinct difference from the other types of films associated with Johnnie To Kei-fung. the director made a surprisingly lightweight romantic comedy thriller far removed from his usual style and themes. Sparrow is also a film requiring that its audiences see the presence of familiar landmarks which may no longer exist. Sparrow also expects audiences to actively hear familiar songs from the past, both Cantonese and Western, that may also be transitory in a changing world characterized by a cultural clash between past and present values.
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