It starts at such a great pace, a lot of show but don't tell allowing the viewer to work out what's happening and try and get an idea of the timeline but even after the half hour make I get the feeling the writers are trying to pull random ideas out of a hat. The 60s style fashion, classical music, editing are all great with a 'will they or won't they' tone setup, but perhaps it's a film I just don't connect with.
One of the most touching stories that tell you more and leaves you speechless, the props are incredibly beautiful, cinematography exaggerates the story to the fullest giving it more unbearable innocence and honesty. the story about those steps that we never make
A simple but eloquent film, melancholic but very sweet at the same time. The set design, art direction and costumes are gorgeous and warm, the cinematography is gorgeous and the direction is just perfect really. The music is and the handpicked songs perfectly fit the film. What's even better about it is the fact how it handles it's subject matter in such style and grace. Poetic cinema at it's finest.
Entrapped in (and playing up) appearances this deceptively simple tale of unfulfilled love is told with extraordinary stylistic bravura. The two handsome leads (Cheung in exquisite dresses) are marked by a continuous syncope in the non-realization of love. Behind the ravishing looks lies a clumsy flirtation and eliding circumstances. The slow motion scenes could have been avoided, but the brilliance is undeniable.
The unification of direction, cinematography, score and performances yields a palpable tale of love, loneliness, connection and the fleeting nature of time. While "In the Mood for Love" is undoubtedly a love story of sorts, it is such an uncharacteristic yet brilliant one and actors Maggie Cheung and Tony Leung are right up to the task here. A sensual, beautiful, thought-provoking yet often humourous film.
An ode to love. Doyle's cinematography is, as always, nothing short of brilliant; frames within frames, a man's face confined in shadows, and the body of a woman in the mirror, the warm colours connecting with the melancholy. Maggie Cheung's and Tony Leung's acting seem to only improve in each other's presence. Understandably Wong Kar Wai's best work.
self-restraint doesn't do it for me. if i were her (which simply isn't realistic because i'm smarter and would've never fallen for mistake #1 - getting married) i would ruin my husband's life, get it on with my fellow cheatee neighbor and wrap the movie in 20 minutes. either my ADHD is getting worse or 2017 managed to fucking kill my last functional heart string