Traditional Culture Encyclopedia - Photography and portraiture - I want to know the name of a film made by Maggie Cheung.

I want to know the name of a film made by Maggie Cheung.

we are young 2

English movie names

we are young 2

More foreign movie names

Summer in Beijing ... (Hong Kong: English title) (Working title)

Years like flowers ... (Hong Kong: English title) (working title)

In the Mood for Love ... (Hong Kong: Mandarin title)

Film genre

Love/plot

The length of a movie (according to the screening time)

98 minutes/Poland: 94 minutes

Country/region

Hong Kong, France and Thailand

conversational language

Cantonese, French and Shanghainese

colour

Black and white

Match to the original tape

Dolby digital surround sound

grade

Graded PG of theme elements and short language.

grade

Singapore: PG Argentina: Atp Australia: G Sweden: Btl Chile: TE Finland: S UK: PG USA: PG France: U Spain: 13 Germany: 6 Netherlands: AL Hong Kong: IIA Norway: A Philippines: PG- 13 Ireland: PG.

Edit the credits of this paragraph.

be in charge of/supervisor

Wong Kar-wai, Wong Kar-wai

dramatist

Wong Kar-wai Wong Kar-wai ... Author.

executant

Tony Leung Chiu Wai ... Zhou Mu Yun.

Maggie Cheung Maggie Cheung ... Su Li Zhen Chen.

Ping Linzhao ... Ping

Joe Cheung, Dong Zhuo' Joe' Zhang ... Special appearance (such as Zheng Dongqiao)

Pan Dihua Pan Dihua ... Mrs. Sun.

Lei Zhen Lei Zhen ... Mr. He (as)

Man-Lei Chan

Gu Jinhua

Roy Cheung Roy Cheung ... Mr. Chen (voice)

Xianyu

Zhou baochun

Sun Jiajun Sun Jiajun ... Mrs. Zhou (voice)

Julien Carbon ... French tourists (unregistered)

Charles de Gaulle himself (1966 visits Cambodia) (archived footage) (unedited)

producer

Esther Wong ... Executive producer.

Zhang Shuping Zhang Shuping ... Deputy producer.

Jacky Pang Yee Wah ... Deputy Producer (as Jacky Pang Yee Wah)

Wong Kar-wai Wong Kar-wai ... Producer.

Take pictures of ...

Du Kefeng Du Kefeng

Edit this paragraph for production and distribution.

Issuing company

DVD Group [Russia] ... (Russia) (DVD)

French film company ... (2000) (France) (drama)

Standard Collection Standard Collection [USA] ... (USA) (DVD)

Triangle film [Sweden ]...(200 1) (Sweden) (dramatic)

Release time

France

May 20, 2000 (Cannes Film Festival)

Canada

September 2000 12 (Toronto Film Festival)

Spain

September 26th, 2000 (San Sebastian Film Festival)

Hong Kong

September 29(th), 2000

South Korea

2000 10 month

Italy

2000 65438+127 October

Britain, England

Britain

2000 65438+127 October

Taiwan Province Province, China

Taiwan Province of China

2000128 October +65438

Japan

5-38 June 2000 +2000130 October (Hong Kong International Film Festival)

Belgium

2000165438+18 October

Germany

2000130 October 165438

Malaysia

165438+2000130 October (Cantonese version)

Portugal

2000 65438+February 29th

Greece

200165438+1October 26th

United States of America

February 2, 2006 5438+0 ... (new york, new york)

Spain

200 1 February 16

the Netherlands

200 1 March 15

Hungary

200129 March

Australia

200129 March

Germany

June 28, 2006 5438+0 (reissued)

Finland

2001July 6

Columbia

2001July 27th

Thailand

20011115 ... (Bangkok Film Festival)

Sweden

200 1 12 14

Russia

65438+20021October 22nd ... (DVD premiere)

the Philippines

August 2002 15 (Cinemanila film festival)

Mexico

February 2003

Hong Kong

April 2004 18 (Hong Kong International Film Festival)

Edit the introduction of this story.

This is a story about migrating love. From 65438 to 0962, Yun (Tony Leung Chiu Wai), the editor-in-chief of the newspaper, and his wife moved into an apartment in Hongkong, together with another young couple (Maggie Cheung) and her husband. Su Lizhen works as a secretary in a trading company, and her husband often travels for work. Zhou Muyun's wife, Li Zhen's husband, is often away from home, so Yunhe and these two people who live alone have become frequent visitors to the landlady's mahjong table. In their gradual communication, Yun and he found that they shared many common interests, such as reading martial arts novels, and they became more and more familiar with each other. Until one day, they suddenly found that their other half had become the protagonist of extramarital affairs, and Yunhe had to face this reality together. Two broken hearts, careful and inseparable, eventually turned into meaningless pain.

This is an awkward confrontation. She bowed her head in shame and gave him a chance to get close. He didn't have the courage to approach. She turned and left.

Being in a distant foreign country, Yun still can't forget the past of harmony. If she had really promised to go with him that day, would they still be together now? Or are you destined to separate things?

Some people may say that since they moved into the same building on the same day and became neighbors, fate arranged them together. And when they find that there is a hidden relationship between their spouses, it is more like an invisible line between them, and they have been cutting.

Up to now, he can still see those wandering figures, meeting in an instant. The landlord couple, their wives, Mrs. Zhou, Mr. Chen and Mrs. Chen. Stairs, corridors, passing her by, or smiling, never thought that her quiet face and beautiful posture would become unforgettable memories in the future. In the shadow of their spouse's betrayal, they approached each other with anxiety. This is where everything becomes unstable and embarrassing. Sometimes she seems dependent and then suddenly betrays. He wants to occupy, but he lacks courage. He wanted to disobey, but in the face of her serious eyes, he felt unable to express it.

When I can't see it, I think more and more. How warm and calm it is when people steal it behind their backs and stay in secluded rooms. Those long-awaited calls, knowing that it was her, could not hear the sound, so hot and fierce. It was not until he decided to travel that he spoke to her sincerely. At this moment, he couldn't help thinking that the person he really betrayed might be her. Everything has receded, Hong Kong, 1962, old secret. Whether for revenge or temptation, or just for comfort, in the end, only care is left.

Those lost years,

As if separated by a piece

Dusty glass,

You can see it, but you can't catch it

He has been thinking about the past.

If he can break through

That dusty glass,

He will go back to the days that have long since disappeared.

Edit this movie review

Comment in one sentence

The irresistible beauty of the East.

A proposition about life, a tangled love.

Nervous, mysterious and erotic tone, bittersweet dream.

Cheongsam, phonograph and street lamp

Film deconstruction

From The True Story of Teddy Boy to Chongqing Forest, from Time Has Passed to Spring Break, although Wong Kar-wai's films established their unique film style as early as the 1990s, and this style has already established his position in the film industry, for mainland audiences, the real understanding of Wong Kar-wai began with the release of In the Mood for Love in 2000. At the beginning of the film's release in the mainland, the box office momentum hit some imported blockbusters. Tony Leung Chiu Wai, who won the Cannes Film Award, and Maggie Cheung, who was swaying in a cheongsam, became the best screen couple of the year.

Director Wong Kar-wai has always been called a geek in the Hong Kong film industry. His films are few in number, but they are all classic. In the Mood for Love should be said to be his most realistic work. There are not many gorgeous elements in the story, which only shapes the result of two extramarital affairs, but almost all the audio-visual elements in the whole movie show stylized consciousness and aestheticism. Especially for the use of light, the change of light and shadow is of great personal image and charm. More than twenty sets of unpredictable cheongsam in Maggie Cheung have been talked about, and the cheongsam culture in old Shanghai before liberation has been vividly reproduced in this film. Japanese composer Shigeru Umebayashi's three-beat theme music has become the crowning touch that can best set off the atmosphere of the whole film. The memory of old Shanghai has always remained in Wong Kar-wai's life, and this artistic film has also become a nostalgic image in his heart and a memory of an era.

Wonderful film review

1, cheongsam, phonograph and street lamp-the three charms of In the Mood for Love

Some people say that "In the Mood for Love" is a continuation of Wong Kar-wai's style, as always, it shows Wong Kar-wai's ideas and becomes another emotional film. However, after reading Ashes of Time, Tears Running, The True Story of Teddy Boy, Chongqing Forest, fallen angels and Spring Scene, people found that Wong Kar-wai's thoughts and feelings were not fixed, but he expanded outward from the thorny forest. In the Mood for Love brings people more than just sad memories. In the film, Wong Kar-wai approaches the audience with his film language, which is extremely charming.

★ Maggie Cheung Cheongsam Show

In In the Mood for Love, the cheongsam worn by women, especially women in Maggie Cheung, best reflects the characteristics of Hong Kong in the 1960s. In the film, Maggie Cheung changed into more than twenty cheongsam. The dazzling cheongsam makes Maggie Cheung, winner of the Golden Horse Award, look melancholy, graceful, sad and generous. Every cheongsam represents the mood of the hostess.

In the dim light, when Maggie Cheung is constantly changing the color and style of cheongsam, people seem to see the classical temperament of an oriental beauty. To tell the truth, Maggie Cheung is not the kind of actor who wins applause by his looks, but under the cheongsam skirt in the mood for love, Maggie Cheung is not only beautiful, but also mature. She is a flash in the pan, leaving a faint distant taste in the dark.

Wong Kar-wai is really an expert in portraying characters. Although Maggie Cheung wore so many cheongsam, the audience didn't think it was redundant or burdensome. Maybe there will be a cheongsam craze after the movie is released.

★ Wong Kar-wai's phonograph

If the phonograph records sound and memory, then Wong Kar-wai's phonograph has another function besides these two functions, which is to record emotions. In the Mood for Love is Wong Kar-wai's phonograph. In the film, this phonograph keeps playing old records from the 1950s and 1960s. Zhou Xuan's old songs "In the Mood for Love" and "Wonderful Jazz" remind the audience of the old Shanghai in the 1920s and 1930s. It is from jazz that we feel that this is Hong Kong. And Wong Kar-wai's phonograph really evokes people's memories. This kind of voice always rings at the most critical time in the film, and often replaces the language of the protagonist, but it is just right. Wong Kar-wai's lens and phonograph express some wonderful feelings that can't be expressed in words, but some feelings are told in silence, even more than in voice.

★ Dim street lamps and night rain

Similar to cheongsam and Zhou Xuan's vocals are street lamps in the film. Wong Kar-wai used lights as the background more than once. In the half-light and half-darkness, in the half-dream and half-awake, feelings began silently and developed inexplicably.

The lights in In the Mood for Love are always dim, with a faint melancholy temperament. It seems to indicate the end of the story, and it also fills the whole night with a romantic mood, but Wong Kar-wai is not satisfied, and adds a spicy seasoning to the night. This seasoning is the intermittent rain, and the rain at night is more meaningful.

◇ Source: Huashang Daily Author: Xiao Dong

2. The spiritual world under the cheongsam-rereading In the Mood for Love.

Wong Kar-wai's new work In the Mood for Love is a world-class masterpiece. From this film, we can see the life of oriental women under cheongsam that the superstar director wants to show.

★ Theme-Breakthrough of Extramarital Affairs

In the Mood for Love is nothing more than an extramarital affair, which is a story that men and women who are about to enter middle age may encounter. This is nothing unusual, but when we watched Wong Kar-wai's new film In the Mood for Love, we found that for this film, extramarital affairs are actually a key for Wong Kar-wai to open the door to the world. It doesn't seem to matter what kind of theme it is in this film. What's important is that the personality and the inner world of human beings shown in this film quietly haunt everyone's heart. The incisive feeling is something that Wong Kar-wai is proud of, and only Wong Kar-wai has such a performance skill. Because of this treatment, Wong Kar-wai's In the Mood for Love is not about extramarital affairs, but about the human soul. Such films naturally have a high starting point, which is different from others, and only Wong Kar-wai's films have such a starting point.

★ Scene-Nostalgia World

In the Mood for Love is a film full of nostalgia, but this nostalgia impacts people's vision with its unique aesthetic feeling. In fact, the scenes of the film are very narrow, all in the gloomy old attic of Shanghai. In order to fully show the lonely inner world, Wong Kar-wai used these narrow spaces to express the nostalgia needed by movies. In addition to being in the attic, the film often paves the way for the film in some old cars and alleys. This nostalgic scene is very strong, and many scenes we saw in the film can touch people's hearts. This scene is very personal.

★ Music-the key to your heart.

Some music, not because its scream is touching, but because of the soul it contains. Music like In the Mood for Love makes people's hearts constantly touched. As long as the music plays, we can feel our souls out of body with the music. Many people, including Zhang Yimou in the Mainland, expressed their heartfelt admiration for the successful application of this kind of music in movies. In the film, the music rings again and again, and we feel the soul of the film again and again.

★ Clothing-Lonely Life under Cheongsam

In the mood for love is a lonely life under cheongsam. We once again experienced the unique charm of oriental women in Maggie Cheung. More than 30 sets of cheongsam not only show the elegance of Maggie Cheung's top stars, but also successfully show the inner world of an oriental woman in the film. Although Maggie Cheung didn't win the title of Best Actress at Cannes Film Festival, in In the Mood for Love, we will never forget the lonely lifestyle expressed under Maggie Cheung's cheongsam.

◇ Source: Huashang Daily Author: Yu Ji

Edit this paragraph behind the scenes.

Supervisor's self-report

Movies can be understood without words.

I was born in Shanghai, but my parents moved to Hong Kong when I was five. The dialect spoken in Hong Kong is different from that in Shanghai, so I can't talk to the locals. I failed to make friends. My mother is facing the same situation. She often takes me to the movies, because some things in the movies can be understood without language. It is a common language based on images.

Like many people of my generation, I know the world from movies, and then I know the world from TV. If I had been born 20 years earlier, I might have chosen to express myself through music. If you were born 50 years earlier, you might be writing. But I grew up with images, so it is natural that I choose to study images. In the Mood for Love is my seventh work, but if you ask me, I'd better not pretend to be a director. I also think of myself as an audience-the audience running behind the camera. When filming, I always hope to reproduce the initial shock I got when I was a movie fan. I believe I make movies mainly for the audience, but there are other reasons besides that.

In the Mood for Love is more like a suspense film.

I write my own script, but that's not arrogance, nor is it the problem of the "author" of the film. Frankly speaking, my biggest dream is to wake up and have a complete script waiting for me by the bed. But before my dream comes true, I think I have to write my own play. I have worked with other screenwriters, but I always feel embarrassed that screenwriters work with directors who also make up stories. I don't know why, we always quarrel, so I finally decided that since I can write a script, there is no need to find a screenwriter. But I have to declare that my method of writing plays is different from others. I am from the director's point of view, not the screenwriter's point of view. So, I am based on images.

At the beginning of the movie, I have to be clear about what kind of movie it will be. I grew up watching genre movies when I was a child. I am fascinated by all kinds of movies, such as westerns, ghost movies and martial arts movies ... so I hope every movie I shoot belongs to a different genre. For example, In the Mood for Love, which is a movie about two people, will easily become boring, but I decided to use a thriller, like a suspense movie, instead of making it into a romantic movie. The hero and heroine in the film were both victims at the beginning, so follow them to investigate and understand how things happened. Each scene is short to keep tension, which may be the reason why the film surprises the audience. They think they will watch a classic romantic movie.

Music should react chemically with images.

Music is very important in my movies. But I seldom find someone to score my movies because it is difficult for me to communicate with musicians. They use the language of music, while I use the language of images. However, film music must be visual. It must react chemically with the image. My way is, whenever I hear music that can make me have images, I record it and save it until I know it may be used later.

I will have music during the whole shooting process, and I especially like to use ancient music in fashion films. I think concerts in different times from videos have an ambiguous feeling, which makes things look complicated. I also play music on the set-not to create an atmosphere, but to bring out the rhythm. If I want the photographer to shoot at a certain speed, a piece of music can be said clearly and is worth a thousand words.

I make decisions by instinct.

I'm not very interested in technology. For me, the camera is just a tool to transfer what I see to film. But the placement of the camera should be logical, although no one knows except you. Like poetry, poets use words with ulterior motives, sometimes because of their sonorous tone and sometimes because of their special meanings.

I often make decisions by intuition. I have a strong feeling about the right and wrong choices, it's as simple as that. Movies are difficult to analyze in words. Movies are very similar to food. After you eat it, your teeth and cheeks are fragrant, but it is difficult to describe the taste accurately to others in words. That's abstract, and so is the movie. In fact, the method of filming has not changed since I entered the business, which is wrong, because I think my working method is not suitable. Unfortunately, this is the only way I know. I always wanted to be like Hitchcock, who decided everything before shooting. But I just can't shoot that ball, and there's nothing I can do.

Team talk

Actor Tony Leung Chiu Wai: He has appeared in Teddy Boy NG27 times.

I am familiar with Wong Kar-wai and have known him for more than ten years. In the middle, he not only filmed his play, but sometimes chatted without filming. I think he is very clever in his daily life, not only filming but also writing plays.

It took me a long time to get into the role of The True Story of Teddy Boy. Every day, I have NG. Every time I have NG, Maggie Cheung accompanies me every day. I fired 27 shots, and I asked Wei Jia what my problem was. There is no reason. This is not my first time filming, but I am famous and recognized as a good actor. I feel very sad and depressed when I go home every day. It was so stressful at that time! Wong Kar-wai thinks I have too many acting skills. I always use 37 ways. He said: "I don't want it, can you give me the most direct one!" "

Zhang Shuping: What I want is vulgarity.

In the Mood for Love is a reinterpretation of 1960s after The True Story of Teddy Boy. I think the art of "Teddy Boy" is very organized and exquisite, and "In the Mood for Love" should be as unconventional and free as possible. After knowing each other for ten years, you can be "crazy"! Teddy boy's environment is very realistic, but the characters are very open, and they will say anything in love or pain. In the Mood for Love, however, it needs to "empty" some plots, and many things are unclear. Cheongsam is an important element in In the Mood for Love. What I want is tacky and unattractive, but everyone says it's beautiful.

Photography Du Kefeng: Photography is like self-treatment.

I think, if I hadn't filmed Ashes of Time, I wouldn't have been able to shoot in the desert again. I'm still proud of Spring Break, because it is so simple but so poetic and easy to understand. In the Mood for Love is the easiest movie for him to understand, which is progress because his works are getting simpler and simpler. Movies are my dance floor. I can meet many people I like, chat with them or dance with them. And photography is like self-treatment. I think Wong Kar-wai will become a multimillionaire one day, because the material he shot is enough for him to release several sets of DVDs. Maybe he had foresight ten years ago.

Wonderful dialogue

If I had an extra ticket, would you go with me?

Edit the awards in this paragraph.

The film received rave reviews and won numerous awards, the most important of which are: Tony Leung Chiu Wai won the best actor at the 53rd Cannes International Film Festival for this film; In addition, the film also won the Best Actress, Best Photography and Best Design Awards in the 37th Taiwan Film Golden Horse Awards. Won the 20th Hong Kong Film Awards for Best Actor, Best Actress, Best Editing, Best Production Designer and Best Costume Design.

Edit paragraph 2. music album

Special offer 1: In the Mood for Love

Singer: Jenny Tseng.

Language: Mandarin

Company: Modern Audio & Video

Date: April 00, 2005

Love blossomed.

[02] spoony swallow

I miss tears.

[04] pink swallow

[05] Xintiandi

[06] Empress Dowager Cixi

What a small world.

Great mom.

[09] Wang Zhaojun

[10] New female surname

Midnight moon

[12] Blame God

Special program 2: In the Mood for Love

Singer: Green Mango

Language: Mandarin

Company: Meika

Date: March 3, 2003

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