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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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28,308 görüntüleme • 25 gün önce •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) ✨

santy

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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.
1:31

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

Sangram

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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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Maggie Cheung and Tony Leung dancing on the set of Wong Kar-wai’s 'In the Mood for Love' 🌹

Lost In Film

755,927 görüntüleme • 1 yıl önce

“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.

TIFF

78,357 görüntüleme • 3 ay önce

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.
2:17

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.

cinesthetic.

28,028 görüntüleme • 11 ay önce

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 ✨
1:51

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 ✨

Lost In Film

108,643 görüntüleme • 1 yıl önce

CITY OF GOD (2002) doesn’t get enough credit for how inventive it looks. Fernando Meirelles and César Charlone use frantic camera movement, freeze frames, whip pans and rapid editing to turn the favela into a constantly shifting visual playground.
2:40

CITY OF GOD (2002) doesn’t get enough credit for how inventive it looks. Fernando Meirelles and César Charlone use frantic camera movement, freeze frames, whip pans and rapid editing to turn the favela into a constantly shifting visual playground.

cinesthetic.

20,159 görüntüleme • 25 gün önce

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.
1:22

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.

cinesthetic.

22,825 görüntüleme • 3 ay önce

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
1:24

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

DepressedBergman

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$SNDK There is a VERY simply way to catch exponential moves and stay in them with relative safety. I used this same method to enter into $BTC at the lows and exit near the top. Problem is no one wants to use the weekly or monthly higher time frames. But if you do, its easy.
4:44

$SNDK There is a VERY simply way to catch exponential moves and stay in them with relative safety. I used this same method to enter into $BTC at the lows and exit near the top. Problem is no one wants to use the weekly or monthly higher time frames. But if you do, its easy.

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Gemini 2.5 Flash Image (Nano Banana) and the collage method + generating new camera angles and then feeding that to Kling 2.1 start and end frames + Veo 3 is becoming my favorite combo. I just created this for fun to test the workflow. I've included some additional insight in this thread if you want to see how it was brought together 👍
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Gemini 2.5 Flash Image (Nano Banana) and the collage method + generating new camera angles and then feeding that to Kling 2.1 start and end frames + Veo 3 is becoming my favorite combo. I just created this for fun to test the workflow. I've included some additional insight in this thread if you want to see how it was brought together 👍

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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 :)
0:42

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 :)

Junho

404,953 görüntüleme • 9 ay önce

this is the workflow for 90% of the assets i create for myself or for clients - start in a diffusion model to get the best aesthetics - bring it into a multimodal model (Nano Banana Pro) in Higgsfield to create a second frame and/or fix details - use a high quality video model that supports start and end frames (Kling 3.0 Omni in Higgsfield) to create a sick shot in <60 seconds model literacy and knowing which ones to grab and when is one of the biggest turning points I see in AI practices. it starts to feel more like another language instead of a black box that you are always just gambling on
0:29

this is the workflow for 90% of the assets i create for myself or for clients - start in a diffusion model to get the best aesthetics - bring it into a multimodal model (Nano Banana Pro) in Higgsfield to create a second frame and/or fix details - use a high quality video model that supports start and end frames (Kling 3.0 Omni in Higgsfield) to create a sick shot in <60 seconds model literacy and knowing which ones to grab and when is one of the biggest turning points I see in AI practices. it starts to feel more like another language instead of a black box that you are always just gambling on

techbimbo

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Seedance 2.5 is finally available in the US, but something feels off. I'm running comparisons to 2.0 and 2.5 is performing worse in most of my tests so far. Same start frames, references, and prompts. Multiple runs of each. 2.5's motion coherence, prompt adherence, visual quality, and sound all appear to be regressions. Is this just launch scaling issues? Judge for yourself:
1:41

Seedance 2.5 is finally available in the US, but something feels off. I'm running comparisons to 2.0 and 2.5 is performing worse in most of my tests so far. Same start frames, references, and prompts. Multiple runs of each. 2.5's motion coherence, prompt adherence, visual quality, and sound all appear to be regressions. Is this just launch scaling issues? Judge for yourself:

Reid Hannaford

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MOVIE REVIEW: ‘Disclosure Day’ 79/100 - Wanted to love it, but it never quite came together for me. The Spielberg spectacle and “wow factor” are there, but the character work &amp; story feel a bit too underbaked for long stretches. REVIEW:
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MOVIE REVIEW: ‘Disclosure Day’ 79/100 - Wanted to love it, but it never quite came together for me. The Spielberg spectacle and “wow factor” are there, but the character work &amp; story feel a bit too underbaked for long stretches. REVIEW:

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I'm thinking one tangible use case for this notes app will be for interior designers to keep client mood boards with annotated photos, long notes, to do lists, meeting notes and short scribbles - all together in the same space.
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I'm thinking one tangible use case for this notes app will be for interior designers to keep client mood boards with annotated photos, long notes, to do lists, meeting notes and short scribbles - all together in the same space.

Tobias Renström

286,843 görüntüleme • 1 yıl önce

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.
0:53

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.

Jon Bray

189,399 görüntüleme • 10 ay önce

“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.
0:39

“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.

Natalie Jean Beisner

17,112 görüntüleme • 9 ay önce