Adagio with fingertips across the skin

Eduardo 2022-04-20 09:01:37

If a secret is sealed in a tree hole to be liberated, then there will be more walking trees in the world.
If a past event can be left in an ancient temple and reincarnated elsewhere, then every heart becomes a temple.
In the mottled wind and rain, the moss spreads and records the traces of the past. In the world of Canghuang people, the mind is a silent and turbulent river, with chance encounters as the source, silently retreating to the sand dunes of time and space.
Wong Kar Wai seems to be trying to describe the life on the roadside. There is nothing novel and ingenious that he brings to our sight through his eyes. Every character may be someone we meet along the way, maybe passing by on the street, maybe sitting in our seats. next to the desk. What is familiar in Wang's films is still familiar, the street scenes of dilapidated or fashionable, old or avant-garde clothing, these only mark the difference in time and place, or even such differences are becoming more and more difficult to find. That strange, still strange. Everyone who meets next to each other is a strange starting point. Maybe because of an opportunity and a topic, they start to get to know each other and become familiar with each other, but they only know faces, and they are only familiar with their bodies. In film montages and voiceovers In the interpretation of the novel, we begin to encounter the secrets of the characters' minds, or Wong Kar-wai's characters treat us as walking trees, and who should the secrets of the trees be told? Every day, we encounter countless faces, either frowning, or smiling contentedly, or just leaning against the broken wall to light a cigarette, ascending in a curling manner, encountering some residual beams and then slowly detouring, and finally dissipated in the void. in the air that people perceive.
Love seems to be a relatively easy theme to carry, and Wong Kar-wai's films seem to be talking about specious love. Destined, unpredictable, intentional, unintentional, ordinary, same-sex... In short, it is all about love, getting less and getting more, everyone seems to be always depressed because of love. And depression is still falling in love because of depression, I can't seem to see it, but the source of depression is always there, not because of the gain or loss of love.
. Looking closely at Wong Kar-wai's films, it seems that he is very reluctant to put important characters into the same picture at the same time. Jin Chengwu's Ah Mei in "Chongqing Forest" is missing on the other end of the phone. Faye Wong and Tony Leung are relatively silent for a few seconds in the blurred and fast-moving crowd. Zhong seems to be more able to show the hopelessness of individual loneliness. "Springtime" Liang Chaowei resisted the warmth of Leslie Cheung impetuously, and Leslie Cheung could only find the lost true love in a person's house after Liang left. Du Kefeng's photography in "In the Mood for Love" captures Wong Kar-wai's thoughts to the extreme, and the unusually oriented shooting angle and overflowing composition of the picture fully highlight the "isolation". Yes, it is isolation. Wong Kar-wai may be describing "isolation".
But this isolation is not as cold as a rock wall. What is colder than the rock wall is the encounter under isolation, the fusion after the encounter, the ice after the fusion, the indeterminacy after the melting... What's broken is that Wong Kar-wai is obsessed with working hard at the careful fusion. Every encounter is like a softly wound adagio. The fingertips run across the skin. The pain of being rooted, the kind of pain that is gripped by the roots, the kind of stirring that doesn't make the face feel painful but wets the mood. As if it were more than a chanting of love, which is perhaps the closest thing to a rooted loneliness and longing, Wong Kar-wai is always playing on our skin, leaving us lost in love.

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Extended Reading
  • Crystel 2022-03-26 09:01:04

    If the most recognized Chinese director in the West should be Wong Kar-wai, and the most eye-catching work is this "In the Mood for Love", the Chinese film with the highest ranking on IMDB, TSPDT, BBC, and Audio-Visual is without exception "In the Mood for Love". Golden years". Director Wong Kar-wai, Du Kefeng Cinematography, Zhang Shuping, Tony Leung and Maggie Cheung starred, and they are indeed an ace combination. Quentin loves to clap his feet, the king of sunglasses loves to clap his hands, Maggie Cheung is really good at acting with his hands. In addition, the "frame and frame" and the composition of the foreground block in the film vividly express the repressed and restrained emotional dilemma in the character's heart. The tune is really perfect. All the emotions were as thick and lingering as the smoke that Zhou Muyun spit out, creating a special feeling of extramarital affairs. In the end, Cantonese and Shanghai dialect are put together without any sense of disobedience. It's amazing.

  • Giles 2021-11-15 08:01:27

    Forbearance of middle-aged passion. "At first, I just wanted to know how they started, but then I discovered that everything happened unknowingly."

In the Mood for Love quotes

  • Chow Mo-wan: It's me. If there's an extra ticket... would you go with me?

    Su Li-zhen Chan: It's me. If there's an extra ticket... would you go with me?

  • Su Li-zhen Chan: Am I hopeless?

    Chow Mo-wan: Not really.