john kars


Directed by Academy Award-winner John Kahrs and visualized by our team at Chromosphere for Lyft. So many talented artists from around the world put forth their time and expertise to help us build this piece from the ground up, and we want to thank everyone involved for this truly global effort.
Guignard Théo, Arthur Chaumay, Tiffany Ford, Jasmin Lai, Emily Paik, Sylvia Liu

Pedro Vergani, Mattias Bjurström, Theresa Latzko, Feed Me Light, Felipe Hansen, Denis Bodart, Denis Bouyer, Richard Kazuo Maegaki
Camille Perrin
Nelson Boles, Claudio Salas, Alex Grigg, Jonathan Djob Nkondo, Bill Northcott, Vitaliy Strokous
Stephane Coedel, Rob Ward, H Kristen Campbell, Alasdair Brotherston
Nate Funaro, Keiko Murayama, Rachel Chu, Jim Levasseur
Creative Director Kevin Dart
Director of Production Myles Shioda


“Writing is about ideas, techniques and most of all, discipline.  The pressure of putting the first word on a blank sheet of paper is agonizing. It’s almost like being caught in a corner. It’s embarrassing. That’s why I always admire good writers. It seems easy for you, at least from my perspective. For me, it’s like hell, and you know very well that there’s no one to help you except yourself. It’s many days, or many months, or even many years of solitude. That’s why I prefer filmmaking. At least, you’re not the only one who’s suffering!”

– Wong Kar-wai talking with John Powers 

Stills from In the Mood for Love (2000, dir. Wong Kar-wai)

oct. 15 - meet cute or & au

where john’s an asshole merman that likes terrorizing weird guys that go scuba diving in clearly marked off limits areas

Fresh Air critic at-large John Powers has a new book of six conversations with filmmaker Wong Kar Wai: 

“There are many good filmmakers in the world but only a handful – including Jean-Luc Godard, David Lynch, Abbas Kiarostami, and Hou Hsiao-hsien – possess a sensibility so strong that their name immediately conjures up a whole way of seeing. Wong Kar Wai belongs to that rarefied company. One can instantly recognize his films by their rootless heroes grappling with love and loneliness, their ticking clocks and restless bodies, their refracted, fashion-shoot surfaces and deep-seated melancholy, their warping of genres and blurring of the line between reality and dream. All this led Time’s estimable Richard Corliss to anoint Wong “the most romantic filmmaker in the world.”  Seemingly incapable of shooting an ugly frame – and as interested in female characters as he is in men – he may be the living filmmaker who best understands glamour.”