Watching Wong Kar-Wai’s In The Mood for Love (2000) recently, I was reminded again of how great this movie is. Wong Kar-Wai is one of the world’s very best directors working today, having the ability to take simple themes such as love and loneliness, and melding them in a style reminiscent of the French New Wave directors. His career started as a writer, ironic being that now he does all of his projects without the use of a concrete script. Wong Kar-Wai’s directorial efforts prior to In the Mood were often times flashy and eccentric, such as in As Tears Go By (1988) and Chungking Express (1994). This certainly is not a bad thing, in fact quite the opposite, but for In the Mood he took a different turn stylistically: his camera slowed down, the colors became more lush, shadows and lighting became more apparent, smoke filled the air like a scene from a film noir movie, appropriate for a story about longing and unspoken desire.