Like a classical poem, “In the Mood for Love” conveys rich information through its minimalist camera work and precise editing, creating ample space for viewers’ imagination and contemplation.
The film serves as a visual collage of various spaces, including bedrooms, mahjong rooms, hotel rooms, hallways, and corridors, as well as scenes depicting still life.
Moreover, the movie ingeniously combines the characters’ movements and costume changes, particularly the cheongsam, to accentuate shifts in time and place, capturing the essence of a transitioning Hong Kong. From 1962 onwards, Hong Kong experienced a profound transformation, with Tsim Sha Tsui evolving from an urban area into a bustling commercial center. These collages not only serve as artistic depictions but also as a portrayal of the city’s nonlinear history and documentation of its historical fabric.
Towards the end of the film, Chow returns from Singapore to his place of residence, only to find that Su is no longer there, symbolizing the notion of missing. Metaphorically, illustrating the disappearance of an era, which corresponds to what the film said: ‘That era has passed. Everything that belongs to that era no longer exists’. This is perhaps why director Wong Kar-wai once remarked, “I’ve always wanted to capture certain places in my films, such as hallways, restaurants, or streets, because I know they will soon be gone.”
—— Zhang Hengruixiang 3036265371
Your response unfolds the visual collage and the shift in time and place, which is much appreciated. In your introductory statement, you mentioned “minimalist camera work and precise editing.” Could you please elaborate on how these film techniques are used and make a connection with the film narratives or making style?