'Wishing to love.' That feeling that subdues us almost forever

'Wishing to love.' That feeling that subdues us almost forever

The movie's protagonists ' Desire to love.'

Wong Kar-Wai's movie, which is a profound reflection on human experience, emotion, and essential elements of life, stops with the freshly released spring in Wishing to love. Aspects that mark love and desire forever.

“He remembers those past years as if he were looking through a dusty window. He could see the past, but he couldn't touch it. And it's all blurry and confusing he considers. "They say that once an event memory has been created, it will no longer change the evocation. Desire provides significance to life, contrasting with the face of death, not just physical end, but emotions. Love could be more of a longing, a search, than a state in itself, and that persecution is sometimes discovered where we didn't want it to be found.

Wong Kar-Wai, director of Hong Kong, produced one of the most exuberant, sensual and devastating movies on the film scene in the last centuries. Wishing to love (In The Mood for Love), whose real title in Cantonese Fa Yeung nin wa means more or less "The freshness of flowers is preserved over time." A love story about love itself and how it remains in the minds of those it submits for much longer than any other feeling.

1962 Chow Mo-wan (Tony Leung) and Su Li-Zhen (Maggie Cheung) move to the same day's rental room house and become neighbors in Hong Kong. Both have late-working spouses who leave them alone for lengthy periods. Since the two are generally without business, in the halls, and on the roads, Chow and Su inevitably cross each other. The two have the certainty in their mind that they're respective. Chow and Su enter into a connection that is platonic, subtle, touching, and painful. They try to know how they met and joined their spouses, examining how, for their infidelity, they will face them. Finally, without any remedy, they discover themselves developing each other's emotions, desiring each other.

A generous unwanted tale of love in which longing and sweetness are confronted by the adultery that has tainted their life.

Wong Kar-Wai faces the lovers to maintain the moral attitude that each thinks the other has adopted. The posture leading to silence and the most intimate and painful secret. "If someone had a secret that he didn't want to share in the past, he climbed a mountain, searched for a tree, created a hole in it, whispered the secret in the hole, then covered it with mud and left the secret there forever."

In a crowded town with little room for secrets, risking everything to achieve a dream? The infinite punishment of treason, of loss. In a time when everything must be hidden, the grief for the lost opportunities. Anguish before the inclement memory, before the passage of time's ferocity. Loneliness. The hell of feeling unable to conquer the "maybe" hesitant and pitiful.

Elevates Desiring's director and screenwriter to love a profound reflection on human experience, emotion, and the underlying and moving consideration of essential elements of life, love, desire. Anxiety for each other, anxiety for themselves. A key lament, that of lack, no matter how near you are to the item you need, desired, creating-allow me-one of cinema's most lovely love tales.

Portrayed by Christopher Doyle, his usual director of photography, Wong Kar-Wai's camera gently moves to his characters, their looks, their hands, their backs, in no hurry, recreating. The camera moves from side to side as if it were a slow waltz, soaking the screen of colors and light, highlighting the closeness and at the same moment the remoteness of its characters, the angles that step on and imprison them. Wong Kar-while leaves the adulterous couple off the screen, we don't know their face, always standing before the two protagonists, smartly emphasizing that they're just the focus of attention, those who are almost always forgotten in other hands as victims of history "We'll never be like them."

Planning and accurate images that demonstrate the beauty of the time through slow movement. That which is concealed in the hallways, between the alleys or in the rain next to the gates. As a spy that scrutinizes some characters ' real feelings, alone, in minimal spaces, so much so that they can not be shown in their entirety and that describes them as distinctive in a paradoxically tumultuous and overcrowded town.

Like photography, Kar-Wai utilizes music with excellent outcomes; Yumeji's unforgettable theme, consisting of Umebayashi Shigeru and his outstanding cello, will inevitably become component of our sound memories as time goes on, just like the impeccable songs of the master Nat King Cole singing in Spanish, used as fingers pointing emotions.

You should definitely place this visual poem, touching, smart, elegant, lovely, in your life, at least once, Wishing to love, and check for yourself how a film becomes an artwork. I wish you the pleasure of it.