Dan Conley

Yesterday I finished my “In the Mood for Love” series, coming on the heels of wrapping up “Mirror” the week before. I think it’s interesting how “Mirror” led me to write longer essays, but fewer of them — while “In the Mood for Love” almost demanded that it take it

We begin the wind down of “In the Mood for Love” — Mr. Chow’s face at the door — with two lines of text: That era has passed. Nothing that belonged to it exists anymore. But then we get a quick glimpse inside that apartment and see that Wong is toying

Mr. Chow arrives in Singapore, but the mysteries have not ended. He looks around his apartment/hotel room for something — then asks the super if someone was in his room. The man denies it. But he sees on an ashtray a cigarette with lipstick. Could it be her? He meets

I’ve spent the past couple days catching up on the films of the late Edward Yang, the Taiwanese filmmaker best known for “Yi Yi” and “A Brighter Summer Day.” I’ve dived into his filmography, watching “Taipei Story,” “Terrorizers” and “A Confucian Confusion.” None of his films are alike

The previous scene left us with the feeling of ice breaking, even though it carried a mournful tone. We now expect the atmosphere to change between Mr. Chan and Mrs. Chow. And it does, but Wong Kar-Wai is more interested in showing us how the fundamentals between them remain the

They run into each other in a familiar spot, under an awning, near the stairwell that descends to the dumping shop. It’s pouring. They discuss the weather, say a few words about nothing. Mr. Chan asks her to wait, saying he’ll be right back. He returns with a