Dan Conley

I’ve written previously about how “In the Mood for Love” seduces the audience first, building a romantic atmosphere, while director Wong Kar-Wai’s dual protagonists are having their hearts broken. The process of making this film was difficult. A financial crisis hit Asian economies while “In the Mood for

I now reach the point in “Mirror” where I feel not only my descriptive powers fail me, but my observational ones as well. It’s a series of three scenes stacked on top of one another, the first in color, the second in black and white, the third again in

The last section set up a new route for Mrs. Chan and Mr. Chow to come together, and we are greeted with the familiar musical theme once more and the famous slow motion photography. Except this time, we are not witnessing shots of people descending for noodles and making glances

There are probably 25 reasonable candidates for the best movie ever made, it all depends on your tastes. But three of those candidates circle each other in interesting ways. Federico Fellini’s 1963 film “8 1/2” is a movie about making a movie, but even more than that, it’

Wong seduces his audience into feeling the love story well before it begins. He has said that “In the Mood for Love” isn’t really a love story, it’s a story about gossip and the social structure of Hong Kong in the early 60s. What he accomplishes in the

Tarkovsky now gives us a mini-film within “Mirror,” a multipart meditation on war, death, faith and time. In form, it is similar to what David Lynch did in episode 8 of “Twin Peaks: The Return,” scenes that could stand on their own as a singular piece, while also fitting inside