#Siu Ping-lam

[camyfilms]

花樣年華 2000

He remembers those vanished years. As though looking through a dusty window pane, the past is something he could see, but not touch. And everything he sees is blurred and indistinct.

[byneddiedingo]

Maggie Cheung and Tony Leung in In the Mood for Love (Wong Kar-wai, 2000)

Cast: Maggie Cheung, Tony Leung, Siu Ping Lam, Rebecca Pan, Kelly Lai Chen, Joe Cheung, Chan Man-Lei, Chin Tsi-ang, Roy Cheung, Paulyn Sun. Screenplay: Wong Kar-Wai. Cinematography: Christopher Doyle, Kwan Pun Leung, Lee Ping Bin. Production design: William Chang. Film editing: William Chang. Music: Michael Galasso, Shigeru Umebayashi. 

Wong Kar-wai's In the Mood for Love has steadily risen in esteem over the two decades since its release, ascending from No, 24 in the 2012 British Film Institute's Sight and Sound critics' poll of the greatest films of all time to No. 5 in 2022.  It's an intense, elliptical love story, one in which there is no nudity, no sex scenes, and in fact not even a consummation of the affair. The would-be lovers, Chow (Tony Leung) and Su Li-zhen (Maggie Cheung), are as trapped in their Hong Kong rooms as they are trapped in their marriages, in their offices, and in the social conventions of the 1960s. In one marvelous sequence she is trapped in his room when their landlady, Mrs. Suen (Rebecca Pan), comes home earlier than expected and then stays up all night playing mahjong with the neighbors, preventing her from leaving and adding fuel to the gossip but also fueling their intimacy. It's a masterstroke that we never see their respective spouses or even receive direct confirmation of what Chow and Su Li-zhen suspect: that her husband and his wife are having an affair with each other. They can't redouble the scandal by openly pairing off with each other, and in the end the paralysis becomes so ingrained in them that they are unable to consummate their relationship even when they are liberated from their claustrophobic living arrangements. Wong frames them in the clutter of the offices where they work, focusing intensely on them as they meet in restaurants, using a variety of techniques such as slow motion and swish-pans, always with the effect of emphasizing their alienation. The score is often exquisitely appropriate, with themes by Michael Galasso and Shigeru Umebayashi as well as pop recordings by Nat King Cole and others. If I have a reservation about the film it's that the historical references -- the tension evident in Hong Kong as it approaches the handover by Britain to China, a 1966 newsreel featuring Charles de Gaulle, Chow's final scene in Angkor Wat -- strike me as an unnecessary attempt to give the relationship of Chow and Su a connection to something larger than just a frustrated love affair. The story is poignant and resonant enough without them.

[agendaculturaldelima]

  #ProyeccionDeVida

🎬 “DESEANDO AMAR” [Fa yeung nin wa / In the Mood for Love]

🔎 Género: Romance / Drama / Años 60 / Película de culto

⌛️ Duración: 95 minutos

✍️ Guión: Wong Kar-Wai

🎼 Música: Michael Galasso

📷 Fotografía: Christopher Doyle y Mark Lee

🗯 Argumento: Año 1962 en la ciudad de Hong Kong; Tony Chiu Wai Leung (Chow), redactor jefe de un diario local, se muda con su mujer a un edificio habitado por residentes de Shanghai. Allí conoce a Su Li-zhen, una joven que acaba de instalarse en el mismo edificio con su esposo. Ella es secretaria de una empresa de exportación y su marido está siempre en viaje de negocios. Como la esposa de Chow también está casi siempre fuera de casa, ambos pasan cada vez más tiempo juntos y se hacen muy amigos… hasta que un día, ambos descubren algo inesperado sobre sus respectivos cónyuges.

👥 Reparto: Tony Leung, Maggie Cheung, Siu Ping-Lam, Tung Cho Cheung, Rebecca Pan, Kelly Lai Chen, Man-Lei Chan, Kam-Wah Koo, Szu-Ying Chien, Paulyn Sun y Roy Cheung.

📢 Dirección: Wong Kar-Wai

© Productoras: Block 2 Pictures, Paradis Films & Jet Tone Production

🌎 Países: Hong Kong-Francia

📅 Año: 2000

📽 Proyección:

📆 Jueves 25 de Julio

🕗 8:00pm.

🎦 Cine Caleta (calle Aurelio de Souza 225 - Barranco)

🚶‍♀️🚶‍♂️ Ingreso libre

🙂 A tener en cuenta: Prohibido el ingreso de bebidas y comidas. 🌳💚🌻🌛

[ulkaralakbarova]

Ip Man’s peaceful life in Foshan changes after Gong Yutian seeks an heir for his family in Southern China. Ip Man then meets Gong Er who challenges him for the sake of regaining her family’s honor. After the Second Sino-Japanese War, Ip Man moves to Hong Kong and struggles to provide for his family. In the mean time, Gong Er chooses the path of vengeance after her father was killed by Ma San. Credits: TheMovieDb. Film Cast: Ip Man: Tony Leung Chiu-wai Gong Er: Zhang Ziyi Razor: Chang Chen Ding Lianshan: Zhao Benshan San Jiang Shui: Xiao Shenyang Zhang Yongcheng: Song Hye-kyo Master Gong Yutian: Wang Qingxiang Ma San: Jin Zhang Jiang: Shang Tielong Gong Er Di Zi: Song Tao Uncle Deng: Lo Hoi-pang Iron Shoes: Cung Le Gong Clan Elder: King Shih-Chieh Chan Wah-shun: Yuen Woo-ping Master Yong: Lau Ga-Yung Master Rui: Shun Lau Primo: Julian Cheung Sister San: Zhou Xiaofei Brother Sau: Berg Ng Dark Spirit: Lo Meng Gong Er Stand-in: Fang Chengcheng Women of the Gold Pavilion: Jeana Ho Young Gong Er: Wu Yixuan Gong Clan Elder: George Wang Mr. Hung: Elvis Tsui Kam-Kong Master Ba: Wang Man-Cheng Cho Man: Cho Man-Keung Brother Ping: Siu Ping-lam Foshan Martial Artist: Tony Ling Chi-Wah Peking Opera Singer: Li Jing Brother Shui: Water Hung Funeral Procession Leader: Tong Han Ma San’s Disciple: Ni Haifeng Gold Pavilion Client: Yuen Cheung-Yan Razor’s Disciple: Yin Chunxiong Zhang Yongcheng (voice): Charlie Yeung …: Benz Kong To-Hoi Film Crew: Screenplay: Wong Kar-wai Director of Photography: Philippe Le Sourd Original Music Composer: Shigeru Umebayashi Producer: Jacky Pang Music: Nathaniel Méchaly Compositors: Erik Classen Screenplay: Xu Haofeng Executive Producer: Dai Song Executive Producer: Chan Ye-cheng Martial Arts Choreographer: Yuen Woo-ping Executive Producer: Megan Ellison Co-Producer: Cheung Hong-Tat Co-Producer: Ng See-Yuen Story Consultant: Ip Chun Co-Producer: Ren Yue Music Consultant: Steve Macklam Co-Producer: Michael J. Werner Screenplay: Zou Jingzhi Makeup Artist: Kwan Lee-na Associate Producer: Johnnie Kong Art Direction: William Chang Suk-Ping Art Direction: Alfred Yau Wai-Ming Costume Design: Shandy Lui Fung-Shan Movie Reviews: CinemaSerf: I’m a fan of Wong Kar-Wai’s films but I reckon that I still prefer Wilson Yip’s 2008 version of the Ip Man story. Set amidst the turbulent times in China that saw the end of the rule of Manchu dynasty, the embryonic republic established and then the Japanese invasion, we meet a man (Tony Leung) who lives peacefully in the small town of Foshan until he meets Wing Chun grand master Gong Yutian (Qingxiang Wang) who is looking for a successor. That is the beginning of a journey that will see him become a grand master of the martial art himself, whilst meeting, marrying and surviving! It’s a superb looking film but for me just a little too over-stylised. The combat scenes are creatively choreographed but the use of the slowed-down visual effects didn’t always work. Leung and the director are clearly on the same wavelength, and the story itself is a fascinating look at the rise of one culture through the wreckage of an ancient one. It’s also clear that women too had their place in this society – and it wasn’t always where stereotype might assume. A strong contribution from the adept and nimble Ziyi Zhang (Gong Er) demonstrates that well as battle lines between the old and new, the powerful and the aspirational are drawn and a good old dose of ancient tribal warfare sets up a proud story of heritage, loyalty and skill. Though a little soporifically scored at times, this is an enjoyable mix of history with touch of romance and plenty of action, and is well worth a couple of hours.

[filmesiwatched]

61. 花樣年華 | In the Mood for Love (2000) | dir. Wong Kar-Wai

[letterboxd-loggd]

In the Mood for Love (花樣年華) (Fa yeung nin wah) (2000) Wong Kar-wai

October 1st 2022

[infinitemovielist]

[genevieveetguy]

I once fell in love with someone. I couldn't stop wondering if she loved me back. I found an android which looked just like her. I hoped she would give me the answer.

2046, Wong Kar-Wai (2004)

[filmphilics]

Recommendation of the week: In The Mood For Love (2000)

Dir.: Wong Kar-Wai

Cast: Tony Leung, Maggie Cheung, Rebecca Pan, Siu Ping-Lam, Mama Hung.

Genre: Romance

Plot: Two neighbors, a woman and a man, form a strong bond after both suspect extramarital activities of their spouses. However, they agree to keep their bond platonic so as not to commit similar wrongs.

Filmphilics score: 8′5/10

Happy Valentine’s Day!! 💕

[whileiamdying]

Faa yeung nin wa (2000)

Set in Hong Kong, 1962, Chow Mo-Wan is a newspaper editor who moves into a new building with his wife. At the same time, Su Li-zhen, a beautiful secretary and her executive husband also move in to the crowded building. With their spouses often away, Chow and Li-zhen spend most of their time together as friends. They have everything in common from noodle shops to martial arts. Soon, they are shocked to discover that their spouses are having an affair. Hurt and angry, they find comfort in their growing friendship even as they resolve not to be like their unfaithful mates.

—Anonymous

[papenkeuckelele]

In the mood for love

It is a restless moment.

She has kept her head lowered

To give him a chance to come closer.

But he could not, for lack of courage.

She turns and walks away.

[365days365movies]

February 10, 2021: In The Mood For Love (2000) (Part 1)

Hey, Hong Kong! 

How’ve you been? I mean, not recently, because the answer to that is...NOT GREAT, it’s not great, I know, you guys still need some support, geez. No, I meant since Action January on this blog! The good ol’ wuxia days! Remember Crouching Tiger, Hidden Dragon? You guys were involved in that! You do anything else fun that year?

Let’s see, you built a tunnel, your economy was amongst the best in Asia, became a bit more democratic...OH! This too!

This movie was a SMASH hit in Hong Kong and China, and is often considered as, and here we go...one of the GREATEST FILMS of all time! Worldwide! Hell of a bar to live up to! Will this be the romance movie that finally makes me cry this month, because I AIN’T SHED TEARS YET BABY. Let’s find out, shall we! SPOILERS AHEAD!!!

Recap

It is a restless moment in Hong Kong, 1962. Chan Su Li-zhen (Maggie Cheung) and Chow Mo-wan (Tony Leung) move into an apartment building in Hong Kong with their significant others. Their apartments are next door, and they move in on the same day. By the way, I’m gonna be referring to them as Mrs. Chan and Chow throughout the Recap and Review.

Also, I’ll probably bring this up later, but HOLY SHIT Mrs. Chan’s wardrobe and entire appearance is...FUCK, wow. it’s amazing. Her unique qipaos, alongside the straight-up attractiveness of Maggie Cheung, gives this film a memorable aesthetic BY ITSELF.

Anyway, she works as a secretary for a local company, while Chow works as a journalist. Some of his coworkers regularly speaks about being a ladies’ man, and makes various allusions to cheating. And, I can only assume now that our pair here will fall in love, despite their spouses. Good old fashioned romantic film infidelity, probably.

Speaking of the spouses, we haven’t actually seen either Mr. Chan or Mrs. Chow. Heard their faces, sure, but not seen them physically. In fact, in the case of Mrs. Chow, their appearances in front of their spouses are getting ever sparser. All the while, Mr. Chow and Mrs. Chan tend to pass by each other, in hallways, or near alleyways around them.

Time passes, almost effortlessly. Chow’s workmate, Ah Ping (Siu Ping Lam), freshly out of the hospital after some gambling and womanizing shenanigans, tells Chow that he saw his wife walking on the street, with a man. Meanwhile, they both work regular overtime shifts which leaves their spouses alone regularly. And it’s soon revealed that Mrs. Chow and Mr. Chan are in fact sleeping together, and each of them find out separately.

Which means that somebody cheated on Maggie Cheung in this movie. And all I have to say is...REALLY? YOU FUCKIN’ SERIOUS, MR. CHAN? Goddamn, that woman, pardon my parlance, is SMOKING HOT in this movie. And also, real talk, she seems legitimately nice.

And Tony Leung’s also a nice catch! What the hell, you guys? So, anyway, they...

Wait. Infidelity...is the actual point of this movie? Like, not just a thing that gets shoves to the side of the romantic coupling, but the potential REASON for the romantic coupling. Oh. OH. I AM IN, PEOPLE.

Eventually, enough time passes with them passing each other, and they give into their loneliness...a little bit. Over the pretense of being friends, Chow asks her to go out to lunch nearby. And over the course of the lunch, it’s revealed that Chow is wearing Mr. Chan’s tie, given to him from his wife. And by the same token, she is carrying his wife’s bag. And now...they know.

Time passes yet again, and the two begin to get even closer. And this may be the first time that them potentially cheating on their partners doesn’t bother me as much in these films. In fact, the two are also reluctant to do so, and as they grow closer, the begin to grow less reluctant.

Good time for me to mention that the editing here is...FASCINATING. The way that this film is set up is essentially as an extra-strength montage. And this film has, no joke, changed the way I think about film as a whole. Really. Let me explain.

You may have noticed that amongst all of these GIFS, there’s only been one repeated outfit on Mrs. Chan. The establishment of her wardrobe diversity happens at the very beginning of the film. We rarely see where wear the same outfit in a row. Until a scene in which they’re walking home together.

First, they walk up to the apartment together, and she’s wearing that outfit. Chow hits on her a bit, and she pulls away. And then, IMMEDIATELY AFTERWARDS, we cut to a scene that starts in the exact same way, with the same dress. But this time, she smiles. It’s a diffeernt reaction. And because we know how many outfits Mrs. Chan has, we know that this must be on a different day entirely.

Which is when I realized something: these outfits aren’t meant to show her fashion sense, they’re literally meant to show the passage of time. That way, the movie is constructed in a fashion that allowed us to see the build-up of their relationship fairly rapidly, while still allowing them to speak to each other. It’s literally  montage on steroids. Holy shit.

FILM ANALYSIS BOIIIIIIIIIII!

As time continues to pass, and outfits continue to change, it all feels like a single conversation with great consequence, but one that you know has taken place over an undefined amount of time. This isn’t a whirlwind romance, but it FEELS like it is based on how the directing and editing are done.

GODDAMN HONG KONG AND CHINA HOW ARE YOU DOING THIS TO ME AGAIN

The unhappiness that the each feel in their marriage begins to seep through to the surface, as their spouses have absconded to Japan, still somehow thinking that they’re getting away with it. They are not. This shit would be obvious to anybody.

Chow is interested in writing a martial arts serialized story for the newspaper, and invites Mrs. Chan to help. This is likely just with the intent to get closer to her. And, indeed, they become much closer, including in their own apartment building. That seems to backfire when they’re stuck in the same room together as their landlady and neighbors play a rousing game of Mahjong.

That game takes place over an entire night, extending all the into the next night. Goddamn, that must’ve been a crazy-ass game of Mahjong. All the while, the two are cautious, as not to rouse their neighbors’ suspicions. However, as she leaves her shoes in his room, it may already be too late for that.

OK, good time for a break, since this is about midway through the film! See you in Part 2!

[dweemeister]

In the Mood for Love (2000, Hong Kong)

Nearing the turn of the twentieth century and with the final holdouts of colonialism being freed, Western audiences could not separate Chinese-language cinema from their perceptions of period costumes and stirring action. One director born in Shanghai but raised in Hong Kong – whether he was considering Western attitudes or not – aimed directly at those expectations with Days of Being Wild (1990) and Chungking Express (1994). That director is Wong Kar-wai, and his In the Mood for Love (it should be noted this is only second film of his that I have seen, so this write-up may be deprived of comparative auteuristic commentary) has since become a staple of international cinema for a new millennium. Certainly, there are burdens and benefits alike of being labeled as an international classic – such recognition allows a film to be more widely seen, but sociocultural nuances tend to be lost on those further away from the concerns and settings of these films.

That distance was something I struggled with throughout almost all of In the Mood for Love’s ninety-eight minutes of romantic drama (and am continuing to grapple with). Despite these personal labors, In the Mood for Love has an exquisite delicacy to its artistry – from central actors Maggie Cheung and Tony Leung, its production design, the camerawork, and even its diegetic music and soundtrack including Peking and Cantonese opera – but the film’s use of Nat King Cole (a favorite of Wong’s mother) singing Latin music is most notable.

It is 1962 in Hong Kong and two Shanghainese transplants – journalist/creative writer Chow Mo-wan (Leung) and secretary Su Li-zhen (Cheung) – find themselves to be neighbors in a tenement building located within a neighborhood populated by Shanghainese immigrants (cultural and linguistic differences between the Shanghainese and the Cantonese-speaking Hong Kongers assured that both groups had minimal contact with the other). They are both married, as their respective spouses are away from home most hours of the day. Lunches and dinners alone become routine. Eventually, Chow and Su get together, share stories, and realize that their respective spouses are engaged in an affair with each other. Coincidences of infidelity be damned, a friendship forms due to nuptial neglect. But this is a romantic drama, so of course feelings develop as Chow and Su realize the incredible irony of their mutual attraction. 

This is what it must have been like for our spouses, Su observes. “Feelings can creep up just like that. I thought I was in control,” Chow muses.

Their spouses are never depicted and any romantic inklings are kept to dialogue and close-up and medium-length shots of the two actors gazing at each other. In the cinema of other directors and other nations, romance can be a sweaty, sordid thing. For Wong – as he accomplished in Days of Being Wild – sensuousness is achieved by his two characters realizing that they will be no better than their respective spouses if they consummate rather than just collaborate. In the Mood for Love is a more sexually repressed piece than Days of Being Wild and, somehow, the former is the more romantic, arguably more erotic, experience. Both rely on hushed tones, but In the Mood for Love restrains itself from even private displays of affection. Days of Being Wild’s greens and rainy-day grays are substituted for In the Mood for Love’s glaring yellow streetlights, lamplights, and interiors and its red curtains. Su’s collection of qipao – almost all of them adorned in warm colors – manage to increase the sexual tension with those high collars and flowered patterns. It is difficult to recall another film that so directs its emotional contours through costuming; credit costume designer William Chang (who also co-produced, edited, and designed the film’s sets) for his keen eye.

Wong – who also produced and wrote In the Mood for Love – occasionally leads his central characters to plot developments that might appear arbitrary and too impeccably timed. Some of these less believable moments include Chow’s invitation to Su to assist him in completing his martial arts serial for his publication and the penultimate flash-forward. These screenwriting decisions should have buckled and battered an otherwise beautifully-crafted film. To some degree of rescue, it is the two central performances that sell these moments. Also starring in Days of Being Wild ten years earlier, Cheung – who plays a different character here with the same name from that past role – required several hours of makeup and costuming before shooting. In this film, Cheung, like her costar, must be disarming yet muted. She carries herself with elegance for the entire production, and a scene where she is suggestively walking upstairs while Leung is walking downstairs is astonishing physical acting. In another era, in another film, such a scene might have been considered shallow, scandalous; here, it only emphasizes how unintentional her character’s connection to Leung’s is. For Leung, he embodies a man’s inclinations to human interaction without realizing or mentioning the immediate significance or basic point of such relationships – no matter the length of acquaintance. His head is somewhere in the clouds, lost to disappointment and to the realization of being in the mood for love but refusing – like Cheung – to do much about it.

Delays in production – Cheung and Leung mostly improvised their lines as the screenplay only provided direction, not dialogue; a protracted Asian financial crisis also factored – forced cinematographer Christopher Doyle (Days of Being Wild, Chungking Express) to depart the film midway through, being replaced Mark Lee Ping Bin (a favorite of Taiwanese director Hou Hsiao-hsien, perhaps most notably for 2015′s The Assassin). Both Doyle and Lee are afforded credits, and it is unclear – at least, from the literature I have gleamed (I get this funny feeling the Criterion release has extras material that would be relevant) – which cinematographer shot certain scenes. Shooting on-site mostly in Bangkok alongside Hong Kong, Doyle and Lee place their cameras low to the ground, around street corners, beneath the surfaces of desks and dinner tables, and through open doors and windowsills. As characters walk from one destination to the next, the camera floats along, keeping a distance neither intrusive nor distant – always within reasonable earshot. The effect is a little voyeuristic, never violating. Perhaps, here, it is apt to consider that Wong initially wanted to call this film Secrets (he backtracked, believing too many films already had “secrets” in their title... he settled on In the Mood for Love after listening to Bryan Ferry’s “I’m in the Mood for Love”). Chow and Su’s clandestine friendship is provided further mystique by the cinematography, in addition to the film’s palette.

Doyle and Lee’s use of space heightens awareness of empty spaces – spaces where a spouse, a group of friends might otherwise occupy. Instead, Chow and Su’s world of loneliness is a byproduct of a sort of disownment, of unbelonging. There are few better places reflective of that imbalance than Hong Kong: a place where West and East intermingle, where mainlanders and Hong Kongers self-segregate, where love goes to be lost as well as found.

This is where William Chang’s art direction stars, but most especially the film’s soundtrack. Only a handful of non-musical films can boast a soundtrack – which is distinct from a film’s score – that can enliven the atmosphere and gift the setting a quality belying the artifice of cinema sets. For various reasons that should be explained elsewhere, modern filmmakers are gravitating towards non-original soundtracks over original scores (something that grates yours truly, but I digress), and In the Mood for Love’s use of various songs – from Nat King Cole’s versions of “Quizás, Quizás, Quizás”, “Aquellos Ojos Verdes”, and “Te Quiero Dijiste” and songs like “Shuang Shuang Yan” by Deng Bai Ying – reflect Hong Kong’s cultural influences and sometimes the moods of the central characters (In the Mood for Love could be described as a mood piece). Never overwhelming the sound mix, these songs were the soundtrack for a previous generation of Hong Kongers, and their presence here is autobiographical, heartfelt.

The final scene of In the Mood for Love was shot at Angkor Wat in Cambodia in the film’s only nod to historical events. Originally a Hindu temple, later converted to a Buddhist temple, and on the route connecting India to Southeast Asia and China, Angkor Wat would be largely untouched by two future events – the carnage of American intervention in the Vietnam War and the Khmer Rouge’s genocide. It, too, became a cultural crossroads. In the Mood for Love aspires to a similar timelessness. In mumbles and secretive whispers into darkened corners, In the Mood for Love captures an impossible romance committed to its characters’ desires and motivations. Time – from the film’s setting and the year of its release – appears not to have diminished the passions kept within.

My rating: 10/10

^ Based on my personal imdb rating. In the Mood for Love is the one hundred and thirty-ninth film I have rated a ten on imdb.

[agendaculturaldelima]

    #ProyeccionDeVida

🎬 “2046 [Los Secretos del Amor]”

🔎 Género: Romance / Drama / Ciencia Ficción / Años 60 / Literatura / Secuela / Película de Culto

⌛️ Duración: 120 minutos

✍️ Guión: Wong Kar-Wai

🎼 Música: Peer Raben y Shigeru Umebayashi

📷 Fotografía: Christopher Doyle, Lai Yiu-Fai y Kwan Pun-Leung

🗯 Argumento: Un escritor que creía escribir sobre el futuro, en realidad estaba escribiendo sobre el pasado. En su novela, un misterioso tren salía de cuando en cuando con dirección al año 2046, donde todos los que subían lo hacían con el mismo propósito: recobrar los recuerdos perdidos. Se decía que en aquel año nada cambiaba; pero nadie sabía a ciencia cierta si esto era verdad, porque ninguno regresaba. Aunque, hubo una excepción, Él si estuvo allí y se marcho se forma voluntaria… quería cambiar.

👥 Reparto: Tony Leung (Chow Mo-wan), Gong Li (Su Li-Zhen), Maggie Cheung (Su Li-Zhen), Zhang Ziyi (Bai Ling), Faye Wong (Wang Jing-wen), Ping Lam Siu (Ah Ping), Takuya Kimura (Tak, Wang Jing-wen's Boyfriend), Chang Chen (Mimi's Boyfriend), Carina Lau (Lulu), Dong Jie (Wang Jie-wen) y Thongchai McIntyre (Bird).

📢 Dirección: Wong Kar-Wai

© Productoras: Block 2 Pictures, Paradis Films, Orly Films & Jet Tone Production

🌎 País: Hong Kong

📅 Año: 2004

📽 Proyección:

📆 Viernes 14 de Junio

🕗 8:00pm.

🎦 Cine Caleta (calle Aurelio de Souza 225 - Barranco)

🚶‍♀️🚶‍♂️ Ingreso libre

🙂 A tener en cuenta: Prohibido el ingreso de bebidas y comidas. 🌳💚🌻🌛

[asianfashionandfilms]

Film 3/20 | #20filmswithyou

In the Mood for Love 花樣年華 • 1h38min •  Hong Kong, 2000 • Starring Maggie Cheung, Tony Leung Chiu‑wai, Rebecca Pan, and Ping Lam Siu • Directed by Wong Kar-Wai

Two neighbors, a woman and a man, form a strong bond after both suspect extramarital activities of their spouses. However, they agree to keep their bond platonic so as not to commit similar wrongs.