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In the Mood for Love

From Wikipedia, the free encyclopedia

In the Mood for Love
In the Mood for Love movie.jpg
Traditional 花樣年華
Simplified 花样年华
Mandarin huāyàng niánhuá
Cantonese faa1 joeng6 nin4 waa4
Shanghainese ho1 hhian3 nyi3 hho3
Literally flowery years
Directed by Wong Kar-wai
Produced by Wong Kar-wai
Written by Wong Kar-wai
Starring Maggie Cheung
Tony Leung
Music by Michael Galasso
Shigeru Umebayashi
Cinematography Christopher Doyle
Mark Lee Ping Bin
Edited by William Chang
Distributed by Universal Pictures (US)
Release date
  • 29 September 2000 (2000-09-29)
Running time
98 minutes
Country Hong Kong
Language Cantonese
Box office $12,854,953

In the Mood for Love is a 2000 romantic Hong Kong film written, produced, and directed by Wong Kar-wai. It tells the story of a man (played by Tony Leung) and a woman (Maggie Cheung) whose spouses have an affair together and who slowly develop feelings for each other.

In the Mood for Love premiered on 20 May 2000, at the 2000 Cannes Film Festival,[1][2] where it was nominated for the Palme d'Or and Tony Leung was awarded Best Actor (first Hong Kong actor to win this award at Cannes). It is frequently listed as one of the greatest films of the 2000s and one of the major works of Asian cinema, and in 2016 was voted as the second best film of the 21st century by 177 film critics from around the world.

The movie forms the second part of an informal trilogy: The first part was Days of Being Wild[3] (released in 1990) and the last part was 2046 (released in 2004).

YouTube Encyclopedic

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  • In the Mood For Love: Crash Course Film Criticism #5
  • In the mood for love Parte II, tiempo de amar.


The history of film is full of tragic love stories, from Casablanca to Brokeback Mountain, Brief Encounter, Ghost, An Affair to Remember, Titanic, or Amour… The list goes on and on! Movies seem to capture that mix of yearning, anguish, and exhilaration that comes with falling in love so well. Especially when that love can’t last. And that’s because film is, at its core, an emotional medium. It immerses us in a world with intricate settings and sounds. And we live vicariously through characters as their stories unfold before us. No one can chart the complex course of the human heart quite like the filmmaker Wong Kar-Wai. And the film In the Mood for Love is a great example of his skill, whether we see it as a deep meditation on human longing, or a reflection of the sociopolitical tensions in our world. [intro music plays] In the Mood for Love tells the story of a doomed love affair set in 1960s Hong Kong. It was released in 2000 and hailed an instant classic, winning awards all over the globe, from Cannes to Chicago. But the film’s journey to the screen began years before that. In the mid-1990s, Wong Kar-Wai, the film’s writer-director, was riding a wave to the forefront of international cinema. Films like 1990’s Days of Being Wild and 1994’s Chunking Express put him on the map as an exciting young filmmaker with a distinctive voice. He achieves that voice by working in a very unusual way: He often goes off-script and follows inspiration as it strikes, sometimes changing the nature of a film in the middle of a shoot. As a result, many of his films end up playing with time, repeating moments or scenes. He’s not afraid to fragment a narrative to illuminate deep yet simple truths about the human experience. In his book on Wong Kar-Wai, the film scholar Stephen Teo notes that “Wong’s films are best seen as a series of interconnecting short stories.” In the Mood for Love fits that bill. It’s a movie made up of gestures, like closely observed looks between characters, and moments, like shots of people walking down the street or racing up a flight of stairs. Individually, the shots are gorgeous and atmospheric. Collectively, they take on new meaning and depth, and build a portrait of intense longing. The film’s story came together slowly over many years. At one point it was going to be a sequel to his breakout film, Days of Being Wild. Later, it would be a romance called Springtime in Beijing. Wong Kar-Wai even started shooting some of the movie under the title Secrets at the same time he was making Happy Together in Hong Kong. Eventually, he found inspiration in a novella by Liu Yi-chang called “Dui Dao,” or “Intersection.” True to its title, this vaguely stream-of-consciousness work follows the interior monologues of two characters whose paths keep crossing in the streets of Hong Kong. And, from this spark, he created the film In the Mood for Love as we know it today. Tony Leung plays Mr. Chow, a married man who rents a room in one of Hong Kong’s famously overcrowded apartment buildings. Mrs. Chan, played by Maggie Cheung, and her husband rent the room next door. Mr. Chow and Mrs. Chan often find themselves home alone, their spouses off traveling for business or working late. In fact, their spouses are so absent from the film that the movie never shows us their faces! Eventually, Mr. Chow and Mrs. Chan discover that their spouses are having an affair. So our heroes embark on an affair of their own. Sort of. Rather than jumping into each other’s arms or beds, they skirt the edges of an actual romantic relationship. They “play-act” the roles of each other’s spouses. And they improvise ways that affair might have started. When they go to dinner, Mrs. Chan orders Mr. Chow the steak she imagines her husband would have had. And Mr. Chow orders her a spicy dish his wife would enjoy. Later, they act out an imagined confrontation between Mrs. Chan and her husband, where she accuses him of having a mistress. Mrs. Chan: I didn't expect it to hurt that much. Mr. Chow: This is just a rehearsal. And finally, in an emotionally brutal scene, they rehearse the end of their own affair. It leaves Mrs. Chan devastated, as make-believe hits too close to home. Throughout their relationship, they collaborate on a serialized story Mr. Chow is writing and spend a single night together in a hotel. What they do that night is left a mystery. And while it’s clear to us that these two are falling in love, they keep denying it to themselves, even as their ambitions and fears become more intertwined. In the end, their love can’t survive, and they go their separate ways. A devastating coda shows them just missing each other over the years, and eventually makes it clear that their affair will never be rekindled. On its surface, In the Mood for Love is a straightforward story of repressed love. And, as with most Wong Kar-Wai films, it’s meticulously designed, arranged, and shot. Wong is a known fan of film noir and melodramas from Hollywood’s Golden Age, like Douglas Sirk’s All that Heaven Allows. And he saturates this film with dark urban streets, deep shadows, and almost lurid reds and blue-greens – the colors of passion, guilt, and jealousy. Wong has often cited Alfred Hitchcock’s Vertigo as a chief inspiration for In the Mood for Love. It’s another film drenched in color, built on suspense, in which characters play-act a relationship. In this film, the camera embraces the central affair in ways the characters never do. It slides back and forth between them at dinner. It tracks them in slow motion through the street. And it observes them thinking alone, their faces betraying none of the emotions roiling under the surface. Instead, those emotions spill forth through those brilliant colors and a lush romantic soundtrack that spans Japanese and Chinese period pop songs and Spanish-language ballads sung by Nat King Cole. Time and again, Mr. Chow and Mrs. Chan are photographed through other objects – like doorways, windows, furniture, or mirrors – as though they’re being watched. Because, of course, they are. By us. As wonderfully designed and shot this film is, its real power is revealed in how the characters act out their spouses’ affair with each other. In “Film & History: An Interdisciplinary Journal,” Humanities scholar Tony Hughes-d’Aeth looks at the film through a Freudian lens. By reading the story this way, you can see how the same fatal flaw that has doomed their real marriages dooms their fantasy affair too. Hughes-d’Aeth writes: “Both Mr. Chow and Mrs. Chan are, beneath their suave mannerisms, paralyzed by a single, devastating idea: I am not enough for the other.” So the movie could be a deep examination of tragedy, of two people who can’t escape the sense of insufficiency they feel toward their spouses, even when they have the chance to start over with someone new. In this reading of the film, the romanticism of the design, camerawork, and soundtrack are in sharp contrast to the characters’ inability to accept that romance in their lives. In other words, the mood is set, and the love may be real, but Mr. Chow and Mrs. Chan can’t bring themselves to act on it. In the end, they keep missing each other – first in Singapore, and then back in Hong Kong. And this reading suggests that this is because they’re more comfortable loving the imagined versions of each other, rather than the real people. Basically, the fantasy is what’s driving their affair. And as much as In the Mood for Love zeroes in on Mr. Chow and Mrs. Chan’s story, another way to look at this movie is to examine how their relationship is a prism that reflects the geo-politics of Hong Kong at the time. The film is explicitly set in Hong Kong between 1962 and 1966, a pivotal time in the history of the territory. And even though the politics of the era take place entirely in the background of the film, some critics argue that they’re key to fully understanding it. The film begins in 1962, a period of relative stability in the region. At the time, Hong Kong was a British colony and a waypoint for emigrants leaving the economic and political uncertainty of mainland China for other countries. And those who settled permanently in Hong Kong found themselves in an unusual place – one where east met west and communism met capitalism. The music and film studies scholar Giorgio Biancorosso described Hong Kong at the time as: “a political, social, and cultural space that has become distinctly local, a space defined both by the immigrant’s desire of starting from scratch and the islander’s sense of being separate.” This idea of being stuck between two worlds also drives the central conflict of In the Mood for Love. Mr. Chow and Mrs. Chan find themselves caught between their own failed marriages, their desire for each other, and their allegiance to the restrictive social codes of the time and place. When the film jumps to 1966, not only has their love affair become deeply broken, but the political realities of Hong Kong have become chaotic too. 1966 was the start of the Chinese Cultural Revolution, a violent class struggle that gripped mainland China for the next decade. Now, in 1966 in the world of the film, Mrs. Chan returns to Hong Kong. She visits her former landlady, who essentially set Mrs. Chan’s affair in motion. Her former landlady says she’s leaving Hong Kong for the United States because of the political instability. So just as the safe harbor of Hong Kong is going through major changes, the space that first incubated the love between Mrs. Chan and Mr. Chow is coming to an end. That sense of uncertainty and of lost possibilities infuses the film from its first carefully-crafted frame to its last. So whatever lens you use to analyze In the Mood for Love, the film holds up. It’s both a technical achievement and a poetic examination of two people who fall deeply in love but are unwilling or unable to accept happiness together. Which is, ultimately, kind of haunting. Next time, we’ll trade the restrained longing of 1960s Hong Kong for the raucous, scorching, hip-hop-infused Brooklyn of Spike Lee’s Do the Right Thing. Crash Course Film Production is produced in association with PBS Digital Studios. You can head over to their channel to check out a playlist of their latest shows, like Origin of Everything, Deep Look, and Eons. This episode of Crash Course was filmed in the Doctor Cheryl C. Kinney Crash Course Studio with the help of these [nice people] and our amazing graphics team is Thought Cafe.



The story takes place in an exiled Shanghainese community of Hong Kong in 1962. Chow Mo-wan (Tony Leung), a journalist, rents a room in an apartment of a building on the same day as Su Li-zhen (Maggie Cheung), a secretary from a shipping company. They become next-door neighbours. Each has a spouse who works and often leaves them alone on overtime shifts. Despite the presence of a friendly Shanghainese landlady, Mrs. Suen, and bustling, mahjong-playing neighbours, Chow and Su often find themselves alone in their rooms. Their lives continue to intersect in everyday situations: a recurring motif is the loneliness of eating alone. The film documents the leads' chance encounters, each making his and her individual trek to the street noodle stall.

Chow and Su each nurse suspicions about one's own spouse's fidelity; each comes to the conclusion that their spouses have been seeing each other. Su wonders aloud how their spouses' affair might have begun. Su and Chow re-enact what they imagine might have happened.

Chow soon invites Su to help him write a martial arts serial for the papers. Their neighbours begin to take notice of Su's prolonged absences. In the context of a socially conservative 1960s Hong Kong, friendships between men and women bear scrutiny. Chow rents a hotel room away from the apartment where he and Su can work together without attracting attention. The relationship between Chow and Su is platonic, as there is the suggestion that they would be degraded if they stooped to the level of their spouses. As time passes, however, they acknowledge that they have developed feelings for each other. Chow leaves Hong Kong for a job in Singapore. He asks Su to go with him; Chow waits for her at the hotel room and then leaves. She can be seen rushing down the stairs of her apartment, only to arrive at the empty hotel room, too late to join Chow.

The next year, Su goes to Singapore and visits Chow's apartment. She calls Chow, who is working for a Singaporean newspaper, but she remains silent when Chow picks up. Later, Chow realises she has visited his apartment after seeing a lipstick-stained cigarette butt in his ashtray. While dining with a friend, Chow relays a story about how in older times, when a person had a secret that could not be shared, he would instead go atop a mountain, make a hollow in a tree, whisper the secret into that hollow and cover it with mud.

Three years later, Su visits her former landlady, Mrs. Suen. Mrs. Suen is about to emigrate to the United States, and Su inquires about whether the apartment is available for rent. Some time later, Chow returns to visit his landlords, the Koos. He finds they have emigrated to the Philippines. He asks about the Suen family next door, and the new owner tells him a woman and her son are now living next door. He leaves without realising Su is the lady living there.

The film ends at Siem Reap, Cambodia, where Chow is seen visiting Angkor Wat. At the site of a ruined monastery, he whispers for some time into a hollow in a ruined wall, before plugging the hollow with mud.



The film's original Chinese title, meaning "the age of blossoms" or "the flowery years" – Chinese metaphor for the fleeting time of youth, beauty and love – derives from a song of the same name by Zhou Xuan from a 1946 film. The English title derives from the song, "I'm in the Mood for Love". Director Wong had planned to name the film Secrets, until listening to the song late in post-production.

Development and pre-production

In the Mood for Love went through a long gestation period. In the 1990s, Wong Kar-wai found some commercial success, much critical acclaim, and wide influence on other filmmakers throughout Asia and the world with films such as Chungking Express and Fallen Angels, both set in present-day Hong Kong. His 1997 film Happy Together was also successful internationally, winning him Best Director at the Cannes Film Festival and surprising many. It was even popular with mainstream audiences in Hong Kong, despite its then-unusual focus on a gay love story and its having been largely improvised in Argentina, a landscape unfamiliar to Wong. By the end of the decade, with sovereignty of Hong Kong transferred from Britain to the People's Republic of China, Wong was eager to work once more in the mainland, where he had been born. He had been dissatisfied with the final result of his 1994 wuxia epic Ashes of Time, which was set in ancient times and filmed in remote desert regions, and decided to deal with a more 20th century urban setting.

By 1998, Wong had developed a concept for his next film, Summer in Beijing. Although no script was finalized, he and cameraman Christopher Doyle had been to Tiananmen Square and other areas of the city to do a small amount of unauthorized shooting. Wong told journalists the film was to be a musical and a love story. Wong secured the participation of Tony Leung Chiu-wai and Maggie Cheung to star, and with his background in graphic design, had even made posters for the film. He had begun work on script treatments, which since Days of Being Wild he tended to treat as only a very loose basis for his work to secure financing, preferring to leave things open to change during the shoot.

It transpired that there would be difficulties securing permission to shoot in Beijing with Wong's spontaneous methods of working and potential political sensitivities in setting his film in mid-20th century China. Wong had come to think of Summer in Beijing as a triptych of stories, much like his original concept of Chungking Express (in which the third story had been spun off into the film Fallen Angels). Quickly, Wong decided to jettison this structure, saving only one of the three planned stories, which had been titled provisionally, A Story of Food, and dealt with a woman and a man who shared noodles and secrets. As he reunited with his actors and production team, most of whom had collaborated several times before, Wong decided A Story of Food would be the heart of his next film. The story would slowly evolve into In the Mood for Love, after transposing its setting away from mainland China and back to 1960s Hong Kong.

Wong had set his breakthrough Days of Being Wild in that time in Hong Kong, when mainland-born Chinese and their memories, including those of Wong, then a young child, had a strong presence in the territory. Still saturated with the sounds of 1930s and 1940s Shanghai singing stars and the ideals they represented, the time also reminded him of the wide array of vibrant dance music floating in over the Pacific from the Philippines, Hawaii, Latin America and the United States, which Wong had used as a backdrop in Days of Being Wild. Wong had regarded Days of Being Wild upon its release in 1990, as an artistic success, and had planned a sequel to it. However, his producers had been disappointed by its box office returns, particularly given that its shoot had been prolonged and expensive, with Wong, who had come out of the Hong Kong industry, first attempting to work more independently, including collaborating for the first time with cinematographer Christopher Doyle, who favored jazz-like spontaneity in his shooting methods. Despite involving many of Hong Kong's top stars, the film's profits had been modest, so Wong was not given the opportunity to follow it up. Yet as he moved on to other films, he had always retained the dream of doing so. With the impossibility of the original idea of Summer in Beijing, he was now able to pursue it.

The cast of Maggie Cheung and Tony Leung in A Story of Food (soon to become In the Mood for Love) provided an opportunity to pick up a loose thread of Days of Being Wild, as the actors had appeared in that film, although never together. Leung's few scenes had been left incomplete, awaiting Wong's planned sequel that was never made. 2046, a sequel in its plot to In the Mood for Love, would later serve for Wong as a sequel in spirit to Days of Being Wild, connecting the story of Leung's character in Days and In the Mood. The writing of 2046 essentially began at the same time as that of In the Mood for Love. Because neither film had its plot, structure, or even all its characters, scripted in advance, Wong began working on the ideas that eventually made it into 2046 during the shoot of In the Mood for Love. As he and his collaborators made the film in a variety of settings, its story took shape. Eventually, these constantly developing ideas, taken from one of the remnants of Summer in Beijing, were developed too much to fit into one film. Wong discarded most of the footage and story before arriving at In the Mood, later reshooting and reimagining the rest as 2046.


Wong's plan to make a film set primarily in Hong Kong did not simplify matters when it came to the shoot. The city's appearance was much changed since the 1960s, and Wong's personal nostalgia for the time added to his desire for historical accuracy. Wong had little taste for working in studio settings, let alone using special effects to imitate the look of past times. Christopher Doyle later discussed the necessity of filming where the streets, the buildings, and even the sight of clothes hanging on lines (as in 1960s Hong Kong) could give a real energy to the actors and the story, whose outlines were constantly open to revision as shooting progressed. While set in Hong Kong, a portion of the filming (like outdoor and hotel scenes) was shot in less modernized neighborhoods of Bangkok, Thailand. Further, a brief portion later in the film is set in Singapore (one of Wong's initial inspirations on the story had been a short story set in Singapore, Intersection, by the Hong Kong writer Liu Yichang). In its final sequences, the film also incorporates footage of Angkor Wat, Cambodia, where Leung's character is working as a journalist.

The film took 15 months to shoot.[2] The actors found the process inspiring but demanding. They required a lot of work to understand the times, being slightly younger than Wong and having grown up in a rapidly changing Hong Kong or, in Maggie Cheung's case, partly in the United Kingdom.

Cheung portrayed 1930s Chinese screen icon Ruan Lingyu in Stanley Kwan's 1992 film Center Stage, for which she wore qipao, the dresses worn by stylish Chinese women throughout much of the first half of the 20th century. It had been Cheung's most recognized performance to date and her hardest, partly due to the clothing, which restricted her freedom of movement. For Wong's film, Cheung, playing a married woman in her thirties who had carried over the elegance of her younger years in the pre-revolutionary mainland, would again wear qipao, known in Cantonese as cheongsam, and spoke of it as the way of understanding her character Su Li-zhen, whose quiet strength Cheung felt was unlike her own more spontaneous spirit.

The cinematographer Christopher Doyle, for whom the film was the sixth collaboration with Wong Kar-wai,[4] had to leave when production went over schedule and was replaced by Mark Lee Ping Bin, renowned for his work with Taiwanese filmmaker Hou Hsiao-hsien.[2] Both DPs are credited equally for the final film. Some scenes in the final cut are thought to have been shot by each, with some critics noting differences between Doyle's more kinetic style as seen in earlier Wong movies, and the more subtle long shots of Lee framing key parts of In the Mood for Love.

Critic Tony Rayns, on the other hand, noted in a commentary on another Wong film that the differing styles of the two cinematographers were blended seamlessly by Wong's own fluid aesthetic. Like all of Wong's previous work, this one was shot on film, not digitally.

Doyle's departure did not result from major artistic arguments with Wong. However, despite his agreement with Wong's spontaneous approach to scripting, he found it frustrating to reshoot many of the key moments over and over in environments throughout Southeast Asia until they felt right to the director. He had to turn down many other projects due to the total commitment, without a clear time limit, required by Wong. Several years later Doyle initially signed on to work on the sequel 2046, but he also abandoned that project halfway through for similar reasons (being replaced by a range of DPs) and has not worked with Wong since. Tony Leung, on the other hand, returned to work on 2046, in which he starred without Maggie Cheung, who made only a brief appearance in already shot footage from In the Mood for Love. Leung also starred in Wong's 2013 film, The Grandmaster. Cheung felt In the Mood for Love was the high point of her career, and she has worked much more infrequently since, starring in several films soon after but within four years, all but retired from acting, despite winning a Best Actress Award at Cannes for 2004's Clean.

The final months of production and post-production on In the Mood for Love, a submission to the Cannes Film Festival in May 2000, were notorious for their confusion. The film was barely finished in time for the festival, as would occur again four years later when Wong submitted 2046. Wong continued shooting more and more of In the Mood for Love with the cast and crew as he worked furiously to edit the massive amounts of footage he had shot over the past year. He removed large chunks of the story to strip it down to its most basic element, the relationship between these characters in the 1960s, with brief allusions to earlier and later times. In the meantime, Wong screened brief segments before the festival for journalists and distributors. Despite the general lack of commercial interest in Chinese cinema at the time by North American media corporations, Wong was given a distribution deal for a limited theatrical release in North America on USA Films, based only on a few minutes of footage.

By early 2000, with the deadline for Cannes approaching, Wong was contacted by the director of Cannes, who encouraged him to quickly complete a final cut, and offered a constructive criticism about the title. Although the title in Cantonese and Mandarin is based on a Zhou Xuan song whose English title is translated "Age of Bloom", the international title proved more complex. After discarding Summer in Beijing and A Story of Food, Wong had provisionally settled on Secrets, but Cannes felt this title was not as distinctive as the film Wong was preparing and suggested he should change it.

Finally having completed the cut, but at a loss for titles, Wong was listening to a then-recent album by Bryan Ferry and Roxy Music, called Slave To Love: The Very Best Of The Ballads, and noticed a resonance in the song "I'm In the Mood for Love", which shared its title with a popular jazz standard of the mid 20th century. Many of Wong's previous English language titles had come from pop songs, so he found this title particularly appropriate.

Three years later, Sofia Coppola credited In the Mood for Love as her largest inspiration on her Academy Award-winning film Lost in Translation, which itself ended with secrets being shared, and made important use of another song by Bryan Ferry. Lost in Translation's iconic opening shot was inspired by a shot from In the Mood For Love. Coppola thanked Wong Kar-wai in her Oscar acceptance speech.

Wong states he was very influenced by Hitchcock's Vertigo while making this film and compares Tony Leung's character to James Stewart's:

[T]he role of Tony in the film reminds me of Jimmy Stewart's in Vertigo. There is a dark side to this character. I think it's very interesting that most of the audience prefers to think that this is a very innocent relationship. These are the good guys, because their spouses are the first ones to be unfaithful and they refuse to be. Nobody sees any darkness in these characters – and yet they are meeting in secret to act out fictitious scenarios of confronting their spouses and of having an affair. I think this happens because the face of Tony Leung is so sympathetic. Just imagine if it was John Malkovich playing this role. You would think, 'This guy is really weird.' It's the same in Vertigo. Everybody thinks James Stewart is a nice guy, so nobody thinks that his character is actually very sick."[5]

Title song

The title track "Hua Yang De Nian Hua" is a song by famous singer Zhou Xuan from the Solitary Island period. The 1946 song is a paean to a happy past and an oblique metaphor for the darkness of Japanese-occupied Shanghai. Wong also set the song to his 2000 short film, named Hua Yang De Nian Hua after the track.


Box office

In the Mood for Love made HK$8,663,227 during its Hong Kong run.

On 2 February 2001, the film opened in six North American theatres, earning $113,280 ($18,880 per screen) in its first weekend. It finished its North American run with a gross of $2,738,980.[7]

The total worldwide box office gross was US$12,854,953.[7]


On review aggregator website Rotten Tomatoes, the film holds an approval rating of 89%, based on 123 reviews, and an average rating of 7.8/10. The website's critical consensus reads, "This understated romance, featuring good performances by its leads, is both visually beautiful and emotionally moving."[8] On Metacritic, the film has a weighted average score of 85 out of 100, based on 28 critics, indicating "universal acclaim".[9]


In 2000, Empire ranked it number 42 in its "The 100 Best Films Of World Cinema" list.[10] It was ranked 95th on "100 Best Films from 1983 to 2008" by Entertainment Weekly.[11] In November 2009, Time Out New York ranked the film as the fifth-best of the decade, calling it the "consummate unconsummated love story of the new millennium."[12]

They Shoot Pictures, Don't They?, a review aggregator covering the history of cinema, lists In the Mood for Love as the 45th most acclaimed film of all time, making it also the most widely acclaimed film released anywhere in the world since its release in 2000.[13] In the 2012 Sight & Sound critics poll, In the Mood for Love appeared at number 24, making it the highest ranked film from the 2000s and one of only two from the 2000s to be listed in the top 50 of all time, along with David Lynch's Mulholland Drive. Wong's film was also the highest ranked film by a Chinese filmmaker. In the Mood for Love received its placement due to the votes of 42 critics (out of 846) who placed it in their own top ten lists individually.[14]

In 2015, the Busan International Film Festival ranked the film No. 3 in its "Asian Cinema 100" list, behind Yasujirō Ozu's Tokyo Story and Akira Kurosawa's Rashomon.[15]

In 2016, the film appeared in second place on BBC's list of the 100 greatest films of the 21st century, after Mulholland Drive.[16]


See also


  1. ^ IMDb: release dates
  2. ^ a b c "Images – In the Mood for Love". Retrieved 13 March 2016. 
  3. ^ "Director's Statement". In the Mood for Love official website. Archived from the original on 7 August 2010. Retrieved 7 August 2010. 
  4. ^ "Christopher Doyle (Cinematographer)". In the Mood for Love official website. Archived from the original on 7 August 2010. Retrieved 7 August 2010. 
  5. ^ Chute, David (15 February 2001). "Unforgettable". LA Weekly. Archived from the original on 7 August 2010. Retrieved 7 August 2010. 
  6. ^ "Notes on the Music". In the Mood for Love official website. Archived from the original on 7 August 2010. Retrieved 7 August 2010. 
  7. ^ a b "In the Mood for Love (2001)". Box Office Mojo. Retrieved 7 August 2010. 
  8. ^ "In the Mood for Love (2001)". Rotten Tomatoes. Fandango Media. Retrieved April 10, 2018. 
  9. ^ "In the Mood for Love Reviews". Metacritic. CBS Interactive. Retrieved April 10, 2018. 
  10. ^ "The 100 Best Films Of World Cinema | 42. In The Mood For Love". Empire. 2010. Archived from the original on 7 August 2010. Retrieved 7 August 2010. 
  11. ^ "Counting Down the New Movie Classics: No. 100-76". Entertainment Weekly. 20 June 2008. Archived from the original on 22 August 2010. Retrieved 12 July 2013. 
  12. ^ "The TONY top 50 movies of the decade". Time Out New York. 25 November 2009. Retrieved 2 December 2009. 
  13. ^ "TSPDT – 21st century – Films 1 to 50" Archived 15 October 2011 at the Wayback Machine.. They Shoot Pictures, Don't They?. January 2010. Retrieved 5 January 2011.
  14. ^ Christie, Ian (1 August 2012). "The Top 50 Greatest Films of All Time". Sight & Sound. British Film Institute. Retrieved 12 July 2013. 
  15. ^ Frater, Patrick (August 12, 2015). "Busan Festival Proposes Ranking of Best-Ever Asian Films". Variety. 
  16. ^ "The 21st Century's 100 Greatest Films". BBC. 23 August 2016. 
  17. ^ a b c "Festival de Cannes: In the Mood for Love". Retrieved 10 October 2009. 

External links

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