Hong Kong was producing some 200 films a year in the early 1990s. It was only the wild success of the film industry that allowed Wong to pursue his less commercial approach to film-making. Days of Being Wild was a box-office disaster locally but its critical acclaim earned Wong the status of one of the leading figures of the time. Riding on the economic prosperity of the last decade of the colonial era, he found opportunities to explore and develop his unique approach to film-making. With the help of cinematographer Christopher Doyle and art director William Chang, Wong developed a unique visual language and aesthetic. Images come first in Wong's films; even the dialogues and fragmented narratives appear as if they are snapshots of moments.

Whether they are set against the backdrop of the 1960s, a modern cityscape or historical times movie theater popcorn supplies, Wong's films have universal themes. One does not need a great depth of knowledge about the cultural and historical context of Hong Kong or Chinese culture in order to appreciate them. This is particularly true in Ashes of Time (1994). A critics' favourite, it was an expensive production that took two years to complete. A subversion of the classic wuxia (martial arts) genre, it is essentially about remembering and forgetting, a theme that can be understood regardless of one's cultural background.

By the mid-90s, Wong had established himself as one of the best film-makers in the region, with Chungking Express winning him all the top accolades at the Hong Kong Film Awards in 1995. The city's film industry was still a thriving and lucrative business but it was apparent that Wong wanted a bigger arena. While John Woo had already begun his Hollywood career making action movies, Wong won the Fipresci prize at the Stockholm International Film Festival for Chungking Express. It also earned praise from Quentin Tarantino, who was said to have pulled the strings to ensure the film's overseas distribution. Making a name on the international stage was possible, and going to Hollywood wasn't the only way.

Happy Together arrived just before British rule over Hong Kong ended, and the city became the centre of global attention. The film sealed Wong's star status, winning him best director at the Cannes Film Festival – the first Chinese person to receive the award. The early years after the handover remained largely prosperous, as if little about the city had changed, and 2000 saw the release of In The Mood for Love, a romantic drama set in 1960s Hong Kong that is widely recognised as Wong's finest work.

The Mood for Love ends in 1966, a watershed moment marking the beginning of China's Cultural Revolution, and a year before the outbreak of the Hong Kong riots. The final scene has Tony Leung Chiu-wai's character whispering his secrets into the tree hole, remembering the vanished years. It marks the end of an era and the dawn of an unknown future, true in the film, as well as for Wong's film-making and the fate of Hong Kong.

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