An unlikely combination of talents has created a quirky,fascinating movie. Actress Sandra Ng and writer/director Gan Kwok-Leung assembled a collection of Hong Kong's finest art film- and alternative music-makers (many in the Wong Kar-Wai orbit, including cinematographer Christopher Doyle, editors William Chang and Chan Kei-Hop, and Jan Lamb [whose new movie WKW is supervising]) to produce "4 Faces of Eve", which is both a Sandra Ng vehicle and an "alternative" movie. "4 Faces" is divided into four well-defined parts, each lasting about 25 minutes. The first, "Mao", stages several encounters between Ng as white-wigged prostitute and Lamb as her psychiatrist-in-training. There is a more than passing resemblance to Fallen Angels. Part two, "Blowing in the Wind", is the most original and the most exasperating section. A frenetic hand-held camera records a virtually dialogue-free sequence of scenes. Eric Kot, his wife / companion Ng (who gets to sport a grossly disfigured face and hunched body) and her family (kids and grandma) chatter wordlessly, scream, and generally make themselves understood though grunts and nonsense syllables, much like characters in a Jacques Tati comedy. Grotesquely, clownishly, surreal. "Twins" is the third and most impressive sequence. It is beautifully shot in chromatically-distorted, heavily pixelated grainy video. The narrative is again structured to be deliberately ambiguous. Sandra Ng seems to play ultra-rich twins, one bed-ridden, comatose; the other, her elder sister, dresses as a man, except when she cross-cross dresses as her sister to murder the latter's lover (or so she claims). Total confusion is averted by Chan Kar-Luk's lyrical score (which nevertheless veers towards parody), and by Doyle's rapturously gorgeous video photography. Part four is the least demanding: a farce called "Love Game" about a TV game show that catches husbands in adulterous situations, then asks their wives to guess the mistress's identities! Ng is the apparently long-suffering wife, Chingmy Yau the mistress, and Jan Lamb the host of this expressionistically rendered satire of TV entertainment. Details are what makes this film click. "4 Faces" works as a pastiche of brilliant, bizarre and gorgeous moments, rather than as an integrated whole. And the same is true of Sandra Ng's performances in all 4 sections: as "Eve", an everywoman with multiple faces. She delivers sustained, committed work, and strikes an impressive array of varied character-poses. A provocative, irritating, sometimes almost unwatchable, sometimes delightful experiment of a movie. Its thesis, if any, is that: these days, the sum of the parts can add up to far more than any putative whole.