Wong Kar-Wei

The most notable aspect of this movie is the color. Excellent cast, and it's interesting to see these actors in different types of roles. The rest of the movie did not work for me. Disclaimer: Although I try to avoid specifics, there may be spoilers in the descriptions below.
Story: From the beginning, I didn't feel the draw of the initial two characters, and I did not get much from the character Elizabeth's journey. There was a theme of broken hearts throughout. The movie ties together and "comes back around", and without much meaning. I think there needs to be more character development. For example, I don't understand why Elizabeth took off, and then wrote to Jeremy as if for connection but left no way for him to write to her. While Elizabeth gained some life experiences, they seemed random, and did not add to the story or why Elizabeth returned to Jeremy's café.
Cinematography: The closeup shots of food—beautiful, and did not have much meaning. While the start of the movie was set in a café that the owner talked about how great his food was; I did not perceive that the food was great from the story and there wasn't a lot about food, mainly blueberry pie as a character. The red food shots were so abstract I was starting to wonder if I was seeing food or gore. It was just food. Then, when there were scenes with violence or fighting, the focus was blurred. Strange. The other aspect of the cinematography that bothered me was the camera moving around a scene with posts of obstacles in the way, so you go back and forth seeing and not seeing the subjects until the end of the rotation. This was used several times. Why? But the colors were beautiful. There were also graphically dramatic shots of the number of days. While this information has some use to orient the viewer, the presentation and the level of importance were not aligned, and there was relevance that I saw for the timeline, other than the total.
If you connect with the characters early on, this movie may be worth watching, otherwise, I do not recommend watching this movie.
— Rebecca… (altro)

Images somptueuses sur fond vénéneux dans ce film sur la quête, l'exil et l'absence. On y reconnaît l'esthétisme et l'inventivité de Wong-Kar Wai, même si la rage émotionnelle tranche ici singulièrement avec la langueur et la retenue de In the mood for love qui sortira sur les écrans 3 ans plus tard. Le sublime Tony Leung est au sommet de son art.
La scène des deux amants (é)perdus dansant le tango dans une cuisine carrelée est d'une beauté fulgurante. A pleurer.
En allant au phare "au bout du monde" d'Ushuaïa, où les malades de l'amour sont censés y laisser leur chagrin, on apprend avant tout à être heureux avec soi-même. Un préalable à l'amour heureux.… (altro)

In the mood for love, c'est d'abord une musique lancinante et mélancolique qui ne nous lâche plus, des ralentis sublimes et une procession de superbes robes sculptant le corps de la belle Maggie Cheug qui déambule dans un balancement de hanches altier, une timbale à la main.
In the mood for love, c'est la mélancolie même. Un homme et une femme, nouvellement voisins, finissent par s'apercevoir que leurs conjoints respectifs ont une relation ensemble. L'un et l'autre, abandonnés par un conjoint "en voyage d'affaires" et injoignable, entretiennent leur désarroi et leur solitude au fil des jours et tristes soirées qui se succèdent. Ils finissent l'un et l'autre par se rapprocher dans cette attente d'angoisse d'amour trahi. Ils répètent ensemble des scènes dans lesquelles ils imaginent ce qui pourrait advenir au retour des conjoints.
L'homme à la femme infidèle tombe amoureux de cette belle voisine qui, elle, ne souhaite pas rompre les liens du mariage, en dépit des évidences.
Le film est empli de regards, de non-dits, d'émotion retenue, de regrets, d'hésitations, de solitude. Un nouvel amour naît difficilement d'un chagrin d'amour, a fortiori d'une trahison d'amour.
Une oeuvre extrêmement sensible et subtile sur la difficulté d'aimer. Et magnifiquement filmée.… (altro)