film after film, to's style becomes colder, more removed; the core of the narrative more indistinct, the emotional central more abstract. here we have one of the few convincing romances of the modern era (abuse, despair, empathy, fear, work), but also a perfect shade of green in the color scheme, the rich shadows of a noir (that final birth scene!), movement not just as slapstick but (explicitly) dance.
A wonderful example of how To and Wai can intuitively float around between heartfelt slap-stick that make you laugh like a madman and burst of intensity that take away any physical safety for our protagonists so that we fear for their lives. And maybe the first film where Tos favorite motif (eating and cooking) becomes a sort of connective tool that guides us along the loose and playful narrative.