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IN THE MOOD FOR LOVE (2000) turns longing into visual language. Christopher Doyle and Ping Bin Lee use narrow corridors, doorways, mirrors and frames within frames to keep Maggie Cheung and Tony Leung close enough to see, but never quite together.

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cinesthetic.

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28,308 просмотров • 25 дней назад •via X (Twitter)

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Tony Leung and Maggie Cheung dancing in a deleted scene from In the Mood for Love (2000) ✨
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Tony Leung and Maggie Cheung dancing in a deleted scene from In the Mood for Love (2000) ✨

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In the Mood for Love (2000) dir. Wong Kar-wai Also became a huge fan of Tony Leung and Maggie Cheung after this.
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In the Mood for Love (2000) dir. Wong Kar-wai Also became a huge fan of Tony Leung and Maggie Cheung after this.

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Maggie Cheung and Tony Leung dancing on the set of Wong Kar-wai’s 'In the Mood for Love' 🌹
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“If it’s not the best for the film, what’s the point?” Maggie Cheung and Tony Leung discussed having takes they loved cut from Wong Kar-wai’s IN THE MOOD FOR LOVE at TIFF '00.
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“If it’s not the best for the film, what’s the point?” Maggie Cheung and Tony Leung discussed having takes they loved cut from Wong Kar-wai’s IN THE MOOD FOR LOVE at TIFF '00.

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Christopher Doyle’s cinematography in In the Mood for Love (2000) is pure poetry. Every frame flows with longing, color, and atmosphere, turning emotion itself into cinema.
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Christopher Doyle’s cinematography in In the Mood for Love (2000) is pure poetry. Every frame flows with longing, color, and atmosphere, turning emotion itself into cinema.

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Celebrating Christopher Doyle—born on this day in 1952—whose cinematography in films like 'Chungking Express', 'Happy Together', and 'In the Mood for Love' has given us some of the most stylish and influential visual moments in modern cinema ✨
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Celebrating Christopher Doyle—born on this day in 1952—whose cinematography in films like 'Chungking Express', 'Happy Together', and 'In the Mood for Love' has given us some of the most stylish and influential visual moments in modern cinema ✨

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26 years ago, In the Mood for Love premiered at the Cannes Film Festival. Tony Leung won Best Actor at Cannes for his performance, while Wong Kar-wai turned longing, silence, and missed connection into one of cinema’s most visually romantic films.
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In the Mood for Love (2000) "I want to show the changes through not having changes. The film tries to repeat all the things: the music is repeating all the time, and the way we see certain space like the office, the clock, the corridors—they’re always the same." — Wong Kar-wai
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In the Mood for Love (2000) "I want to show the changes through not having changes. The film tries to repeat all the things: the music is repeating all the time, and the way we see certain space like the office, the clock, the corridors—they’re always the same." — Wong Kar-wai

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We're getting close to the end of this process now... I have 4 renders left, and two are currently running. The remaining two are the velocity view bicameral renders, of which I would like to see some more frames. For now, here is the eastern pivot in 1080p, 32fps :)

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Definitively a better effort with the upscaling but the embellishments on the face and the magnetic clasp additions make it pretty cringe in a few frames. The mirage effect on the hairline is common with AI upscaling. The magnetic clasp not moving is forced and makes the clasp change shape and it doesn't match the movement of the shirt. The smoothing and shading on the face is overworked in some frames and just rushed in others (the round blend tool mark on the sideburns for a few frames). The face details for the nose and chin are rough and don't have enough unique frames to make it smooth. This makes another attempt to make people believe that the magnetic clasp didn't come loose from the shirt, more subtle than the others but the effect is still there. Why? Why the effort for such a small detail? Alot of this could be just artifacts from the upscaling (undoubtedly this is a upscaling of the original over the shoulder angle) but some details have been added frame by frame (better than previous attempts with alot more modified frames in sequence but still kinda rushed and lacking polish). Even if someone created a completely polished modified angle you would still have the problem of consistently between angles. No amount of polish and resolution will get around the details we have already seen in the unadulterated originals.

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“They moved in to try to rewrite history and convince masses that Charlie Kirk and I were never friends” Actually, no. “They” didn’t. No one has been disputing that Charlie and she were close. However, they were not close towards the end. And that might’ve just been due to growing apart and each getting married and starting families. Or it might’ve been due to Candace’s love of burning bridges and going on unhinged rants. But they weren’t close. They weren’t enemies, but they weren’t close. It’s clear Candace isn’t close to Erika, and Charlie wouldn’t keep a close female friend who wasn’t equally close to his wife.

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