In cinema, most films will paint a setting for the viewers and introduce a variety of characters in order to present the plot. The idea of telling a story becomes the main focus of that piece of artistic work. However, in the film Chungking Express by Wong Kar-Wai, instead of a story line with its rising action, conflict, and resolution, the audience receives snapshots of life in Hong Kong. Thus, the film only tells the story of the contents of the photograph and not a story leading up to it nor a solution for the future. Furthermore, in addition to utilizing a variety of film techniques to create this sense of no beginning and no end, Wong also demonstrates the manner in which the life of individual can easily overlap with that of another.

In the beginning of the film, the viewers witness a solo cop chase conducted by Quiwu. This scene quickly sets up the mood of the film as the audience is suddenly brought into an occurrence in Hong Kong, much like being shown a photograph. This scene leads into the life of the officer Quiwu and his later interactions with the "blond" woman. However, these characters vanish from this film almost as rapidly and as mysteriously as the manner in which they had entered. There lacks the expected conclusion and no questions are asked about the manner in which they are simply removed from the film. There is only the transition into the lives of two other characters, No. 633 and Faye. The viewers had just left the lives of Quiwu and the "blond" woman unexpectedly and is only thrusted into the ones of No. 633 and Faye as they are taking place. Once again, the viewers are offered no background of No. 633 and Faye. The audience witnesses various interactions between them and in the end is hit once again with an unexpected ending. Thus, Wong offers the viewers snapshots of these individuals lives by simply placing the audience in the middle of their daily interactions without a background and without a resolution in the end.

In addition to using the Chungking Express as a photo gallery of life in Hong Kong, Wong does not neglect to demonstrate the intricacies of such a lifestyle and the manner in which an individual's life overlaps with that of another. To heighten the complexities of this bustling lifestyle, Wong includes quick camera works. This is seen at the beginning of the film during the chase and in several scenes in which the backgroud of the character under the camera's focus is passing by rapidly. To demonstrate the manner in which lives of individuals are inseperable, Wong places certain characters in specific scenes in which they are not the focus. For instance, during the police chase, Quiwu bumps into the "blond" woman accidentally. Although she plays no obvious role in that scene, the viewers know that she is occuppied with her own life. However, as separate as these two individuals may think they are, their paths cross. Another example occurs when the "blond" woman is seen waiting outside of a store while Faye walks out of the shop with a gigantic Garfield doll. Later, the viewers understand the significance of this stuffed animal and realizes that despite the fact that the two woman were engaged in two very different activities, their paths overlap.

Chungking Express succeeds in presenting snapshots of the characters lives as opposed to narrating their complete stories. This increases the realistic value of the film as the audience looks in on the lives of these characters and leaves almost believing that their lives will continue despite the fact that they are not being observed anymore. Furthermore, Wong employs various film techniques to bring out the manner in which individual's life overlaps with that of another being. In society today with the numerous technological advances and constant lack of time, few people think of themselves as connected with other individuals. However, through this film, they realize that despite their hectic schedules and varying lifestyles, their lives do constantly overlap with those of others.