Kot is an extremely conscious guy, opting to give the film a direction where we're instead watching the making of the arthouse film backed by Wong Kar-Wai (producer) and Christopher Doyle (cinematographer). Kot appears in video segments talking about trying to find a direction for his musings on first love, seemingly making up crap as he goes along (true old school way of creating fine Hong Kong films) and aiding us through it all via visual- and audio commentary at select points.

If it sounds frantic and fragmented, you wouldn't have assumed wrong and Kot's laid back attitude and actually mistreatment of the audience is perhaps the biggest delight of his film. Kot eventually finds two stories he likes, going over unusual, joyous first love and love where destruction has entered. It's the quirky touches on display, ones that Kot in his commentary acknowledges aren't meant for interpretation (a sly dig at viewers wanting to interpret every single frame and one of many examples of the kind of off-beat humour served up) that eventually leads into visual poetry of a rather felt kind. Aided by an equally quirky but perfect score for Kot's surroundings, anti-arthouse camps should give First Love: The Litter On The Breeze a shot. It isn't a chore to find Kot's telling moments. It's instead a lot of fun watching him come to a conclusion that is as meaningful for his characters as it is for him as a director. Our firsts aren't perfect but as delightful as anything we as humans can ever experience. With Takeshi Kaneshiro and Karen Mok.