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But that’s part of the fantasy—sometimes, falling in love really is as simple as that.

Wong Kar-wai’s metaphor for Hong Kong’s handover to China finds a couple adrift in Argentina, caught in the same abusive cycle that prevents either half from letting go.

But all that takes a temporary backseat when Omar rekindles a romance with Johnny (a young Daniel Day-Lewis, still four years away from the first of three Oscar wins).

Pedro Almodóvar’s Oscar-winning love letter to the LGBT community uses a mother’s grief as the jumping-off point for this colorful film.

On paper, the plot reads as surreal and potentially melodramatic: after an accident, Manuela dives headfirst into Barcelona’s queer scene in search of the cross-dressing man who unknowingly fathered her late son.

As much a story of codependence as it is a study of rootless and shifting identities, both touches upon and sidelines its themes of homosexuality—groundbreaking for Chinese cinema in 1997—and focuses instead on the loss and regret of a relationship that can’t be saved.

It’s a snapshot of a moment in time and the restlessness and melancholy that invariably afflicts youth.

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