With a captivating cinematography and peaceful background score, the moments that the film seeks for is beautifully natural.
Kar-Wai Wong’s masterpiece is a love story that every filmmaker wishes to embark upon majestically. Personally, I find it not only incredibly difficult to go through but also is left in awe with the structure of the film. Probably, because there isn’t any. Dashing across the film, the script tells a story from a third person’s perspective. In a sense that the fable is narrated to him or her, as a memory shared in the form of highlights. Now, this sort of writing has always inspired me. Something that you can see majorly in Pawel Pawlikowski’s Cold War. Often, while writing such a material, you are under sheer pressure to not boast off about something inessential to the storyline and also not make the events loud enough to give away the trajectory of these characters.
Walking that fine line, comes a nuanced vocab, that the writer and director, Kar-Wai Wong is speaking flamboyantly. Not, for a split second does he give away its essence beforehand. And plus, this format of jumping forward with an uneven pace, helps the maker create a jarring impact on you that is soothing despite of the poignancy that it breathes perpetually, there was always very little window for these characters to peek through and almost impossible to go through.
As Evan Puschak observed so smartly in one of his sort-of-reviews, the film is majorly shot with a frame within a frame tone, that helps us dive into the “observer” theme instantly. Plus, the enactments of these characters for their supposed situations, is just pure fun where later on, the slow-motion montages nail the final nail in the coffin expressively. It would and should provoke everyone to be In The Mood For Love, since it first and foremost is about the evolution of a friendship; innocent I find this world.