In a 2009 interview with IndieWire, Wong Kar-wai said that there while there were between 20 and 25 dresses for Cheung and, because the film was condensed, “it becomes like a fashion show she changes all the time.” A traditional style Hong Kong restaurant in Wan Chai seats after-work diners “I think Maggie Cheung in that film also personifies that very sexy Hong Kong Chinese woman, which wasn’t really a big thing before that time period,” he said. “That style is so iconic,” said Tam, dubbing it “not to sound cliched, but when East meets West and starts converging”. New York-based Arthur Tam, a freelance writer and former editor for Time Out Hong Kong, said the film’s aesthetic is hard to shake. “The film has ‘cleared’ on the global stage a certain sensibility – a penchant for longing, reminiscing, dwelling on past missteps and missed opportunities, an almost morbid attraction to unfulfilled romance,” said Biancorosso, who is currently finishing a book on the director. Pondering its impact, Giorgio Biancorosso, professor of Music at the University of Hong Kong, said the film has “fed image-making from fashion to interior design and even contemporary art” in the city.
The film won its star, Tony Leung, the Best Actor award at the 53rd Cannes Film Festival The indie movie streaming platform MUBI was dreamed up by founder Efe Cakarel, when he found that he was unable to watch the film while in a cafe in Tokyo.Īfter 20 years, the film’s anniversary has already been marked around the world in a variety of ways, from its 4K restoration, to a theatrical adaption at the Sydney Opera House. Critics still rank the movie among the best ever made, academic papers have been dedicated to its cinematic impact, and fans include director Sofia Coppola and the late Anthony Bourdain. The film scooped up awards and nominations across the world, including Cannes, and generated a cloud of acclaim for director Wong Kar-wai. Hong Kong, China – Through longing glances in corridors and across intimate table settings, In the Mood for Love tells the slow-burning love story of two beautiful, betrayed neighbours.Īs the story unfolded on cinema screens 20 years ago, it quickly entranced international audiences, creating a mood and aesthetic that lingered with movie-goers long after the credits had rolled – the patterned flowers on Maggie Cheung’s qipao (a traditional Chinese dress), Tony Leung’s neck craned over his typewriter as he worked, and the curls of steam from hot food prepared outside, amid a neon-lit Hong Kong that was, even then, fast disappearing.
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