The film review of In the Mood for Love should be written from the shooting skills, and nothing else.

Wong Kar-wai's films are famous for their sports scenes, and we can also see some of them clearly in In the Mood for Love. Subsequent shooting

In Wong Kar-wai's films, the camera is not only a still life and a shooting tool, on the contrary, it is a person who is unwilling to be lonely and follows the protagonist with unique visual curiosity. It is sometimes like a character in a play, always following the hero and heroine and telling the audience what happened between them, as if an outsider was always watching their every move.

When Zhou Mu Yun was talking to a bald man in the office, although he used a split lens, he photographed them opposite a colleague, making the telephone and desk in the foreground empty, as if a person working in a newspaper was putting down his work and watching their conversation.

Even if the camera wants to shoot their home, it is not from the front of the door, but more with a light curtain or through the edge of the window. The camera slowly turns over or stops at a point, adding a hazy feeling, adding icing on the cake to the whole movie "Extramarital Affairs" without letting outsiders know such an ambiguous atmosphere.

Yunhe drinks coffee in a bar for the first time. When they talk about their spouses' different extramarital affairs, the camera always switches between their side faces and there is no positive appearance. The camera is like drinking coffee next to them at this time. I can't see how amazing their positive expressions are, but I can only glance at their indifference and indifference. From sweeping to the cloud, and then sweeping back from the cloud, it seems that two people are talking very enthusiastically, and the camera will watch it again. "I don't know when they started." So the camera watched them leave the bar and shook them step by step.

Continue to follow them and look from the outside, so you often see the shadows and black screens of two people, even the people behind the railing. Because their feelings are not public, and it is impossible to be public.

In Wong Kar-wai's films, the lens is no longer a lens, but a pair of eyes, a pair of unique eyes that can always find different visions. It doesn't need ordinary people's eyes to look at things. It is always peeping into other people's lives, or staring, or staring, or thinking. Every shot always has a special composition and a special depth of field and objects.