Directional photography and corrective photography

In the Mood for Love is a very, very classic movie!

A wonderful time, a wordless ending.

"If there is another ticket, will you go with me?"

The swaying cheongsam, the dim street lamp, the meticulous portrait of love, and all the feelings I want to say are like an old yellowing turntable, quietly rotating in the phonograph of the years. There is no hubbub and impetuousness, no epitome of bubble culture, just a sad but beautiful singing of an old song: In the Mood for Love. A good movie followed, equally gentle.

This is a film by Wong Kar-wai, the representative director of postmodernism in 1990s. The story is simple-it's about the extramarital affairs of two married men and women. Another film with a similar theme is The Bridges of Madison County. The two have the same effect, except that the latter is the love view of westerners, while the love view embodied in In the Mood for Love belongs to the oriental feelings of "white walls and black tiles in those days".

Let's go back to Wong Kar-wai, a role director who often wears a pair of sunglasses. His films are full of strong personal colors. "Sleeping in the Wind" and "One Minute Theory" In the true story of A Fei, A Fei's disrespect seems to be his epitome; In Chongqing Forest, 633 and 663 police officers have their own maverick life ideas, and canned pineapple and the theory of love preservation have also become the classics of China films. In Time Has Changed, Ouyang Feng's sharp eyes and the atmospheric lens of "lonely smoke in the desert, the long river setting the yen" have also become models for many directors, even Zhang Yimou. Even though it is a controversial gay film, "Spring Break Out", Wang Dao can still make it exquisite and moving. The clever use of long shots and the vertical beauty of Niagara Waterfalls in the film are also fatally labeled as Wong Kar-wai style. However, in In the Mood for Love in 2000, Wang Dao's avant-garde aesthetics was not reflected. On the contrary, this film is full of implicit beauty and hidden camera language. The theme of the film also pays attention to the usual emotional treatment of China people, and conveys the unique charm and thoughts of the East to the audience from beginning to end. It can be said that this film is the least like Wong Kar-wai's style, but it is deeply loved by him.

In the film, Tony Leung Chiu Wai and Yunhe respectively interpret Yun and the married men and women of the old Hong Kong middle class in the 1960s with traditional concepts. They used to have their own families. One kind of fate made them all move into the same apartment, and another kind of fate made the distance between their two families just a wall apart. In the gradual interaction, everyone became familiar. But when they met alone in the narrow corridor, they just said, "What a coincidence?" They hurried by and went their separate ways. If life is like this, it will be safe and comfortable. But finally one day, they discovered the fact that their partner was unfaithful. I don't know whether Zhou and Su are in the same boat, or because of revenge, or neither. They just want to find a bosom friend to talk to. In a word, they became friends. We ate western food together, wrote martial arts novels together in Room 2046 of the famous hotel, interpreted the reasons why their lovers cheated, and ate glutinous rice chicken together in the hero's room early in the morning ... They all said, "We won't be like them." But later, I said, "Some things will happen before you know it." Proves the beginning of love. The cloud is struggling, struggling, struggling on the edge of emotion and moral rationality, and wandering on the edge of love and not love. Unfortunately, in the end, none of them went beyond the critical step and separated things. With the concern for each other in his heart, Su Lizhen chose to sit in his empty room and cry silently, letting the tears flow freely through his cheeks; Zhou Mu Yun chose to tell the secret of his heart in the cave of Angkor Wat, and buried it with earth, so that it will always be a secret. Good years are wordless endings.

This is a movie that will be very heavy after watching, and it is also a movie that will be thoughtful after watching. Many people see it only because of the gorgeous cheongsam. Indeed, when 26 sets of elegant cheongsam tightly wrap Maggie Cheung's exquisite curve, it is indeed a kind of beautiful enjoyment. But if you watch this movie just to appreciate the beauty of clothes, it's a bit of a waste of a good movie.

A good movie is like a cup of green tea. At first glance, it has no taste, but after careful tasting, a refreshing fragrance will unconsciously float into your internal organs. In the Mood for Love is such a movie. Whether it's the exquisite close-up in the lens, the soft light cast by the dim street lamp in the drizzle, or the bright level of the whole picture color and eye-catching tone matching skills, it's the profound skill of director Wong Kar-wai and photographer Du Kefeng. I have to mention the sound art in the film, even the sound effect of raindrops falling to the ground is so infectious, not to mention the main theme of the film, which is accompanied by the hero and heroine meeting in the corridor many times-lyrical with a melancholy violin music. These hardware facilities of the film are perfect, and what is more commendable is the soul of the film-the content plot, which is as ingenious as described by Wong Kar-wai.