Vashdaman
Cardcaptor
Not sure if this is directed at me or not, but if it was, then a) despite my flippant remark about not understanding how people read the film differently in the following line (and post) I acknowledged there is a variety of valid interpretations and b) describing it as my "own weird headcannon" is you trying to push your interpretation as the correct one by belittling other views. Otomo and Aion don't agree with my views on Woo, but they're able to not be rude about it!
Anyway back to the topic, I know what @Aion means about the way male oriented movies and culture can often seek to minimise women and centre men as the core of the universe. It's a weird thing. Maybe female culture does a similar thing, but possibly not quite to the same extent, I don't know. It's not just that phenomenon that make Woo's HK movies feel very homoerotic to me though. Ringo Lam's City on Fire has a lot of the same themes really, but somehow does't feel so obviously homoerotic to me, it is an absolutely amazing film though! The difference in Woo's films is the intense romanticism and emotion that you don't always find in other male oriented works. He was inspired by the romanticism of French cinema. You don't have to read these films in a homoerotic way at all, but I'm clearly not the first person to do so either.
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Didn't know Matsuko had gone out of print and now back in. Nakashima's films seemed to go out of vogue after Confessions (one of my two favourite all-time moviefilms), weirdly, with that being the last to get a UK blu-ray release of his. Maybe it didn't sell well despite its critical reception. Matsuko iirc was something akin to a far more depressing (and musical) Millennium Actress, if memory serves. I'd say it's his second best film. Worth picking up.