In the Mood for Love (2000) 1080p YIFY Movie

In the Mood for Love (2000) 1080p

Faa yeung nin wa is a movie starring Tony Chiu-Wai Leung, Maggie Cheung, and Ping Lam Siu. Two neighbors, a woman and a man, form a strong bond after both suspect extramarital activities of their spouses. However, they agree to keep...

IMDB: 8.13 Likes

  • Genre: Drama | Romance
  • Quality: 1080p
  • Size: 1.58G
  • Resolution: 1920*1080 / 23.976 fpsfps
  • Language: English  
  • Run Time: 99
  • IMDB Rating: 8.1/10 
  • MPR: Normal
  • Peers/Seeds: 3 / 76

The Synopsis for In the Mood for Love (2000) 1080p

Set in Hong Kong, 1962, Chow Mo-Wan is a newspaper editor who moves into a new building with his wife. At the same time, Su Li-zhen, a beautiful secretary and her executive husband also move in to the crowded building. With their spouses often away, Chow and Li-zhen spend most of their time together as friends. They have everything in common from noodle shops to martial arts. Soon, they are shocked to discover that their spouses are having an affair. Hurt and angry, they find comfort in their growing friendship even as they resolve not to be like their unfaithful mates.


The Director and Players for In the Mood for Love (2000) 1080p

[Director]Kar Wai Wong
[Role:]Maggie Cheung
[Role:]Tony Chiu Wai Leung
[Role:]Tung Cho 'Joe' Cheung
[Role:]Ping Lam Siu


The Reviews for In the Mood for Love (2000) 1080p


camera movement for this filmReviewed byclairetianqihouVote: 10/10

In "In the Mood for Love", the director Wong Kar wai uses the only kind of lens movement pattern: shift shot. Compare his and other director camera movement, for example in film "Swallowtail Butterfly" -- the classic period of South Sea Girl shift shot . Wong Kar-wai's approach more simple and standard multi - there are pieces from their drop rate, middle-shift process is very stable, but is not fancy.

The foundation of shift lens is field. That means between two scenes 's shift , or a new scene from the black scenes. This shift lens combined with Maggie Zhang beautiful dress, that may illustrate different places and time. Meanwhile, the shift lens also gives us a steady rhythm: time is goes to our peaceful life.

Another foundation of lens shift is rendering the plot. At the first time, Maggie Zhang and Tony Liang date in a restaurant . They are talking about her husbands 's tie and his wife 's bag. The director uses shift lens but faster than before. This sudden change in rhythm give the audience visual impact. We can understand about most of events happen in our daily life, we feel surprised and sad, but those unpleasant feeling cannot destroy our whole life. That is because of the back grand and their personality. We can see that Mr. Zhou smoking unless in order to control his complicated emotion . ? Wong Kar-wai loves fixed shot, no push shot , no pull shot, and no pan shot. This is the whole style of Mr. Wong 's film. Mr. Wong loves to express emotion use depth of filed. For example, Mr Zhou walks into the hotel room. At the beginning of that scenes, the audience can see the end of hotel corridor. All curtain are red, and Wong uses oblique angle to present this shot. Then director turn to use Zhou 's foot close-up shot .

I think most common shot is the camera follow that main characters and then the main characters stop.All of those will be by full shot or medium shot. However, Wong Kar-wai uses different way to present the salve with depth of filed. In other word , he try to give the audience choice a deep space, and then let your vision will remain at the end of the space. Wong was so careful, and he seems afraid you'll bother to go into the old stories of the characters.

He loves close-up shot with depth of field in this film . When he wants you to see a person's face and eyes, you can not miss. because you never see them before. However, the tone of the whole movie is always free, just little talking , and also the director always remind you that this is yesterday's story, not your story. Be careful them , don't touch them . Just stand far away from them to see them.

Nostalgic, elegiac tale of doomed romanceReviewed byseandchoiVote: 10/10

I think that New York Times film critic Elvis Mitchell wrote the best one line review of In the Mood for Love when he said that it is "dizzy with a romantic spirit that's been missing from the cinema forever." How true those words are! Truly romantic films are so rare these days, while films that include plenty of sex and nudity (which are often portrayed in a smutty and gratuitous manner) abound. So, given this cinematic climate, Wong Kar-wai's latest film feels like a much needed breath of fresh air. In the Mood for Love is about the doomed romance between two neighbors ("Mr. Chow," played by Tony Leung and "Mrs. Chan," played by Maggie Cheung), whose spouses are having an illicit affair, as they try "not to be like them." But after hanging out with each other on lonely nights (while their spouses are away "on business"/"taking care of a sick mother"), they fall madly in love, and must resist the temptation of going too far.

Several factors are responsible for making In the Mood for Love a new classic among "romantic melodramas," in the best sense of that term. First, the specific period of the film (i.e. 1960's Hong Kong) is faithfully recreated to an astonishing degree of detail. The clothes (including Maggie Cheung's lovely dresses), the music (e.g. Nat King Cole), and the overall atmosphere of this film evokes a nostalgia for that specific period. Second, Christopher Doyle's award-winning, breathtakingly beautiful cinematography creates an environment which not only envelopes its two main characters, but seems to ooze with romantic longing in every one of its sumptuous, meticulously composed frame. Make no mistake about it: In the Mood for Love was the most gorgeous film of 2001. (It should also be mentioned that Wong Kar-wai's usual hyper-kinetic visual style is (understandably) toned down for this film, although his pallet remain just as colorful.) Third, there is the haunting score by Michael Galasso, which is accompanied by slow motion sequences of, e.g. Chan walking in her elegant dresses, Chan and Chow "glancing" at each other as they pass one another on the stairs, and other beautiful scenes which etch themselves into one's memory. The main score--which makes its instruments sound as though they're literally crying--is heard eight times throughout various points in the film and it serves to highlight the sadness and the longing which the two main characters feel. Fourth, Tony Leung and Maggie Cheung both deliver wonderful performances (Leung won the prize for best actor at Cannes) and they manage to generate real chemistry on screen.

The above elements coalesce and work so nicely together to create a film that feels timeless, "dizzyingly romantic," and, in a word, magical. In the Mood for Love, perhaps more than any other film of 2001, reminded me why it is that I love "going to the movies." And I guess that is about the highest compliment that I can pay to a film.

Possibly Wong Kar-Wai's best filmReviewed byrepulsionVote: 10/10

It's easy to see why many people consider In the Mood for Love to be Wong Kar-Wai's best film. The toned down appeal of the film, centering on the studied view of a relationship put through an emotional ringer, is a retread into Happy Together territory but without the hyper-kinetic patchwork of jarring film stocks and hyper-saturated sequences that have become a trademark of Kar-Wai's films since Chungking Express. Like Soderbergh's The Limey, this is a different kind of curio for Kar-Wai; where dialogue and plot are forsaken by mood and composition in order to create a tale of two delicate lives in a seemingly confining emotional stasis.

It's a testament to the genius of Kar-Wai that he is capable to making such a simple tale so resonating. Chow Mo-Wan (Tony Leung) and Su Li-zhen (Maggie Cheung) move in next-door to each other within the same apartment building. He's a journalist who dreams of publishing martial-arts novels and she is a secretary at a shipping company. Their eventual coupling is obvious from the beginning but the pleasure here is the way that Kar-Wai ambiguously paints such a journey with his grand masterstrokes.

The key to the success of the film is Kar-Wai's use of the interior space, playing with foreground and background planes in ways that are similar to the works of Polanski. During the wooingly sensuous first half of the film, Kar-Wai isolates Leung and Cheung within shots in such a way that the second person in a conversation is never visible. Kar-Wai is concerned with environment and space here, creating a cramped emotional dynamic between his characters. It's also telling that Kar-Wai never chooses to focus on the physicality of Mo-Wan and Li-zhen's spouses. Their faceless partners are noticeably absent from the film, as they are tending to their own love affairs with each other.

This is not to suggest that In the Mood for Love is a confining experience because Kar-Wai manages to inundate his film with broad splashes of hypnotic camera movement and sound. There is one shot where Cheung's slow, sensual rise up a metaphorical stairway turns into Leung's descent down the very same stairwell; their movements perfectly compliment each other, bookending the shot and creating a sense of erotic duality between the two figures. Their souls have connected but they have yet to physically unite. The erotic displacement of these scenes is both fascinating and frustrating, as two star-crossed lovers reject physical consummation due to their humble fidelity.

Other scenes in the film are punctuated with brief slow-motion shots of Cheung erotically moving through her interior surroundings, set to Mike Galasso's hauntingly beautiful score. Cheung's dresses beautifully compliment her exterior space as she moves slowly through her surroundings. Her movements slowly build up to what seems to be an inevitable fusion between Li-szhen and her dream lover even though the seduction process seems to be entirely sub-conscious.

If I make it seem that these two characters are more like two birds unleashing pheromones on each other, it probably isn't that far-fetched of a statement. The tight bond these two characters have with their internal spaces is almost as intense as their relationship to the exteriors. The film rarely moves into an exterior space and when the camera does it is usually to peak through oval windows and symbolic bars that always remind us that these characters are like confined animals. Kar-Wai continues to tease us even when the lovers get close enough to touch, shattering the couple's proximity to each other by shooting them through mirrors or through gaps within articles of clothing located inside of a closet. Mother Nature even seems to respond to their love lust, often unleashing a soft crest of rain over the characters after their bodies have glided near each other.

Kar-Wai's hauntingly atmospheric shots of a waterfall allowed Leung's Lai Yu-Fai to experience a cathartic release in Happy Together, even if Leslie Cheung's Ho Po-wing was not there to enjoy it with him. By that film's end, love was so inextricably bound to the act of war that a third man's muted declarations of love signaled Yu-Fai's realization that his dreams of seeing a waterfall would bring him inner peace, even if it would not bring him back his lover. Mo-Wan's journey terminates within the confines of a crumbling temple. His own emotional depletion is paralleled nicely with the political climate of his country, and the absence of Li-szhen is only made tolerable by the fact that Kar-Wai allows Mo-Wan to experience a release of sorts. Mo-Wan caters to an ancient myth and his secretive release into a crack in the temple leaves him capable of living his days with the hope that all his loss and heartache somehow served a higher purpose.

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