Still from In The Mood For Love (2000).
Wong Kar-Wai makes strange films.
That is the least I could say, given the nucleic emptiness of his works. We were taught in our physics class that atoms constitute all matter at an elementary level. Since the nucleus of the atom holds a vast majority of its mass, all tangible matter in the universe is composed essentially of empty space.
This idea transposes wonderfully to metaphysical debates about the nature of reality and existence, as it rightly should.
I digress to make this point: In The Mood For Love is easily the sexiest film I’ve ever watched; a rare miracle in a film devoid of any physical contact between the lovelorn protagonists. It is uncontrollably sexy in its lighting, and the coloring, and the slow-motion montages of these two people making their way across rainsoaked streets in search of themselves. Secrets are erotica, red hallways are romance. This film speaks its own meta-language.
In The Mood For Love is the kind of film which enhances your capacity to dream better. To be a better person: more appreciative of stolen glances, doomed ambitions and destined failures. It is the story of two people who know what they want, understand how to get it, recognize their ability to make it happen, and still end up suspended between pure desire and acceptability.
A masterclass in cinematography, composition, sound design, acting and direction which crowns restraint and subtlety above all. A film which bleeds gorgeous through and through.