#p: maggie cheung

[wildspringday]

maggie cheung & tony leung chiu-wai via mubifrance

#them <3 #p: maggie cheung #p: tony leung #photography! #*mine #mine: edits #movies: in the mood for love #maggie cheung #tony leung #in the mood for love #wong kar wai

[blysse-and-blunder]

 in lieu of a commonplace book

10pm sunday, jan 29, 2023

your gentle blogger has entered her next decade of life, thank you to @dying-suffering-french-stalkers and @redstar-winterorbit for the good birthday wishes last week!

reading not a ton if i'm honest, i've been deluged with gift books and library loans while at the same time crashing back into the semester, and the overall effect has been, uh, to freeze my recreational reading a bit. stuck trying to finish things like my audiobook of through the whispering door and ebook of maybe you should talk to somebody (have i talked about this one? it's a memoir of a therapist and reading it is like reading an episode of the gossip podcast, but i can also tell it's giving me occasional useful ideas and perspective on things to think about or ask for in therapy. but i can only take so much of it at once). the gift book i'm most into right now it lindsey ellis' axiom's end, which is a first-contact, aliens are real and the government has been hiding them scifi-- it's quick and readable, lindsey does a great job for a first novel, and i'm loving the alternate-history flavor of it being set in the Bush era and the southern california details i actually appreciate now. also the way the aliens are described, i love the design of them. beautiful and terrifying. but i haven't made progress in a few days.

through the whispering door is perplexing me right now, in that the gentle romance has developed pleasingly (predictably), but there's been a lot of talk about the main character 'having changed' and 'not being the same as he was when he arrived' and i can't actually. point to why or where that happened. this is part of the problem with me and audiobooks, i think, because i don't care enough to go back and re-listen to the parts where i tuned out.... there's been a new heightening of the stakes now that there's a time-limit, and i always like the flavor of an eldritch stag character.

EDIT: finished the monster baru cormorant, still recovering, immediately checked the third one out of the library though the psychic damage this series does to me without warning (dear seth: i'm taking away the word 'clotted' from your lexicon for a bit. also ‘lobotomy’.) is hard to rectify with how smart and good some of the new narrative details are. the introduction of ‘trim’ and its associated reliance on / trust in other people, to a story where the main character's stated weakness is thinking about things from others' perspectives? or anticipating others' reactions? chef's kiss. and the navy full of rugged, determined, salt-weathered women is just very good to me, personally. aminata my incredibly violent beloved. the end of this book was- devastating. not in the same way as the last one: this time i have the kind of fascinated-horrified-sickened-fixated feeling that i get about horror stuff sometimes, and i’d say body horror is what i expect from book three.

watching i got unlucky with weather-based flight cancellations last week, and spending a night in a random detroit hotel room created a great opportunity to check out my university's criterion collection access. for some reason i decided that this was the right moment to experience wong kar wai's in the mood for love (2000), which i have since finished in slightly calmer circumstances. despite knowing that tony leung and maggie cheung were both active in the 90s i somehow totally thought that this movie was like. actually a historic film and not a period piece? probably because of how much the visuals / how it’s shot and colored / the overall design feels so classic, feels like old school film in the best possible way. having now read the wikipedia page for this film i can tell i missed a lot of the actual plot, or rather, thought that there was more experimental / nonlinear story-telling going on than there might actually have been-- but that’s okay, it just means i’ll have to watch it again.

listening i don’t remember when this song first popped up in my spot ify, possibly on a discover weekly playlist a while ago? but it landed for me last week, somehow brand new and meaningful as i was contemplating the musical direction of my next playlist. listening to it with better headphones revealed lots of nice layers, depth and harmony, i like that bass throb under the chorus, it’s produced well and rewards paying attention to the extra stuff-- the contrary motion of the background vocal line in the opening to the chorus is nice.

something something i will get up regardless. currently repeating to myself, all you gotta do now is walk.

playing had the pleasure of hanging out with my Dnd friends on my birthday last week and playing a whole new style of game with them! Y introduced us to gloom, which is very Edward Gorey-core and therefore was delightful, and got our game-design nerds all excited about the cards themselves, and then K skunked us all at anomia. the adrenaline in this one is addictive? it is somehow so fun and yet so infuriating, and I have yet to regret suggesting it to a group or party.

making cleaned my room finally (somewhat) and have a stack of mail to send and cards to answer, now with the help of the beautiful fountain pen my roommates gave me for my birthday! It’s one of these, and while I can try to promise not to become a fountain pen nerd, time will tell…

working on this award letter for a prof is somehow the hardest thing to just fucking finish. I think because I want it to be better than just okay, and am worried that it’ll counteract its own message if it’s not? But also—I have palaeography homework now! and the abstract of a talk to finish, and that talk + associated chapter to outline! not to mention finishing reading and commenting on a friend’s chapters! taking it slow last week was nice and probably needed, but fuck.

#in lieu of a commonplace book #ilcb #weekly roundup

[lazard999]

Maggie Cheung, “In the Mood for Love ”(花樣年華), 2000, dir. Wong Kar-wai. https://www.instagram.com/p/Cp_OLE0IPNy/?igshid=NGJjMDIxMWI=

[slyrodriguez21bybentopeii]

II: In the Mood for Love (2000) "...[T]he past is something he could see, but not touch." Aside from a video comparing the visual similarities between Moonlight (2016) by Barry Jenkins and the filmography of Wong Kar-wai, I had only heard and read about In the Mood for Love (2000) and its auteur in film crit essays. So to be given the chance to watch the film on the big screen, I took it and set aside discussions of its restoration for others to nitpick on. I can only imagine what an experience it would have been or would be to see more of Wong's restored films on the big screen. The first film by Wong Kar-wai that I saw was Happy Together (1997) and like that film, the sight of a heartbroken Tony Leung turns you into a sad, queer mess by the end of it (or perhaps that was only me, projecting). There's so much to unpack in In the Mood for Love (2000) that warrants another viewing, but what I'm certain of after my first viewing is how the film builds on mood and atmosphere, crafting a "melancholic nostalgia" for a past one could see, but "could no longer touch." Melancholic or Melancholy Nostalgia is a term I borrowed from a book by two comics scholars who used it to describe the works of some American alternative cartoonists in the 1990s. IIRC, it refers to how these artists in their comics would long for a past or former countercultural moment, like perhaps the Undergrounds of the 1960s and find that is no longer there as the 20th century was coming to a close. For In the Mood for Love, however, this is expressed in the form of Mr. Chow (Leung) confessing and burying his unrequited love for Mrs. Chan (Maggie Cheung) at Angkor Wat. Thank you to @qcinemaph for giving me the chance to finally see this! Maliban sa Iguazu Falls sa Argentina, pangarap ko na ring mapuntahan balang araw ang Angkor Wat sa Cambodia! 🥺 #QCinema × #WKW ❤️ #IntheMoodforLove - #WongKarwai https://www.instagram.com/p/ClwNNv2Parb/?igshid=NGJjMDIxMWI=

#qcinema #wkw #inthemoodforlove #wongkarwai

[thefilmsimps]

In the Mood for Love (dir. Wong Kar-Wai)

-Jere Pilapil-

Wong Kar-Wai’s In the Mood for Love is my favorite movie of all time. His direction accomplished something incredible here, a mix of precision and naturalism that moves me and awes me, every time I watch it. This time I watched it in the context of the Criterion Collection’s World of Wong Kar-Wai boxed set, and now it feels like the culmination of a full career.

Of course, so many of the touchstones of his work are here: lovers meeting at the wrong time in their lives, slo-mo shots of ordinary actions, high style and precise fashions, all taking place in Hong Kong (this time, in the early 1960s). But here every detail is perfectly observed. The story is about a man and a woman (Tony Leung Chiu-Wai and Maggie Cheung), two strangers, who rent adjacent rooms in an apartment building. Their respective spouses are often out, working late or on business. Eventually the man and woman realize their spouses are having an affair. They grow close, deciding not to have an affair of their own. And the movie just stays with them, stuck there in this emotional purgatory.

The slow wind up to the realization that the spouses are having affairs is perfect. The two couples share a moving day, and movers keep moving each couple’s possessions into the wrong apartment, as thought he universe is communicating our main characters should be together. Su Li-Zhen (Cheung) helps her boss manage his own affairs, subtly doing things like warning him that a flashy tie he received as a gift from his mistress might tip people off. “You notice things if you pay attention”, she says, perhaps knowing what’s going on in her own life. Meanwhile, at nights she goes out to get take-out noodles, frequently passing Chow Mo-Wan (Leung) as he is doing the same thing. Throughout these sections, it’s like a dance: the spouses excuse themselves from Su Li-zhen and Chow Mo-Wan’s lives, and in turn those neglected lives start to intertwine by chance, but may necessity as well.

This is a movie where every time I watch it, another thing jumps out at me. Last time, I was taken by how many of Su Li-Zhen and Chow Mo-Wan’s conversations are misdirects: often we’re led to believe a conversation is one thing when it is a rehearsal for a later one, or a role play for another. This time, the oppressive cultural and social norms of the time struck me harder than they had before. It’s a major plot point that a married man and woman in 1960s Hong Kong aren’t meant to spend a lot of time together, but this time I was extra attentive to how the landlady reacts to Su Li-zhen. She chides her for going out too much, or constantly asks where she was, and seems to keep track of who is coming and going from her building.

The density of the city is against them, and while they early on decide that they won’t have a physical affair, the relationship that blossoms between them still requires them to sneak around behind everyone’s backs. It’s an elegant and creative illustration of the way that cheating on a partner doesn’t necessarily have to take the form of sex, and the ways that a deep bond can grow but not be consummated. I’ve been cheated on by a partner, and it’s the most deeply I’ve ever been hurt emotionally. But In the Mood for Love also makes the case that these things sometimes just happen, even when everyone involved knows it’s wrong.

P. S. This time, I also took a peek at the deleted scenes and came away appreciating the movie even more. Wong Kar-Wai’s style of filming uses the script as a loose guide while the actors improvise around, and this film in particular took 15 months to shoot. So Criterion packaging up a few outtakes is an illuminating What Could Have Been exercise (or a multiverse or what if…? Subplot, for the Marvel fans). They include things like scenes taking place in the 1970s that don’t fit the tone of the movie, an expansion of the ending that rob the released ending of its mystery and tragedy, and a sex scene that literally upends the premise of the movie that eventually came out. It’s all very interesting and makes me feel like Wong Kar-Wai walked a tightrope to get this perfect movie.

P.P.S. The Criterion Collection’s World of Wong Kar-Wai boxed set includes a restored version of In the Mood for Love with a modified color grading. I don’t mind it, necessarily, but I far, far far prefer the theatrical version. The new color scheme washes things out, giving a greenish tint that fits the nostalgic 1960s style of the movie. But the old was a bit more vibrant and still feels nostalgic, just in Technicolor the way of of that time. I’m sure anyone coming to this movie from the “new” version won’t notice, but obviously I’ve seen this one many times before this release.

10/10

#criterion #movie review #wong kar wai #hong kong cinema

[aromam]

In The Mood For Love ❤️ Quite possibly one of the most beautiful films ever made. Directed by my favorite director Wong Kar-wa with the brilliant cinematographer Christopher Doyle. I love everything about this movie. Maggie Cheung and Tony Leung are enigmatic, I can watch them over and over again. This film was a great inspiration to me in creating the mood (no pun intended) for the upcoming Aroma M Perfume film. Stay tuned!🌸 #filmfridays https://www.instagram.com/p/BxkHYnxhIwt/?igshid=1gzlzlysa6j9n

#filmfridays

[marciamattos]

Maggie Cheung and Tony Leung in In the mood for love directed by Wong Kar Wai, 2000. Via @the_red_list #maggiecheung #tonyleung #inthemoodforlove #wongkarwai

#maggiecheung #tonyleung #inthemoodforlove #wongkarwai

[awardseasonblog]

#FilmMovement ha pubblicato un nuovo #trailer per il restauro in #4K del cult movie #CenterStage diretto da Stanley Kwan. Distribuito in patria nel 1991, la pellicola è stata proiettata con successo l'anno dopo al Festival di Berlino (dove la talentuosa Maggie Cheung ha vinto il premio per la migliore attrice). Al centro della vicenda la storia dell'attrice cinese degli anni '30 Lingyu Ruan che si suicidò all'età di 24 anni nel 1935 dopo una vita privata tumultuosa. Un melodramma sontuoso a cui si sono ispirati molti cineasti delle successive generazioni. Tra i premi conquistati spiccano i 2 al Chicago International Film Festival (miglior regia, miglior attrice) e i 5 Hong Kong Film Awards (miglior attrice, miglior fotografia, miglior scenografia, miglior colonna sonora, miglior canzone) TRAILER: https://youtu.be/v5AHvXn5O3Y https://www.instagram.com/p/CLtfSA5F_TT/?igshid=1bb7gy09t158x

#filmmovement #trailer #4k #centerstage

[wildspringday]

maggie cheung via criterioncollection

#<3!!! #p: maggie cheung #photography! #*mine #mine: edits #maggie cheung #movies: in the mood for love #in the mood for love

[elliscraddock]

I create a logo t shirt to honor the Hong Kong actress, Maggie Cheung. #MaggieCheung #maggiecheungmanyuk #cheungmanyuk @m_rocks83 @tvbcomhk @tvbanywhere_official #tvb (at Harlem) https://www.instagram.com/p/CKAA6MGJdri/?igshid=lfsnmvzvzo94

#maggiecheung #maggiecheungmanyuk #cheungmanyuk #tvb

[slyrodriguez21bybentopeii]

II: In the Mood for Love (2000) "...[T]he past is something he could see, but not touch." Aside from a video comparing the visual similarities between Moonlight (2016) by Barry Jenkins and the filmography of Wong Kar-wai, I had only heard and read about In the Mood for Love (2000) and its auteur in film crit essays. So to be given the chance to watch the film on the big screen, I took it and set aside discussions of its restoration for others to nitpick on. I can only imagine what an experience it would have been or would be to see more of Wong's restored films on the big screen. The first film by Wong Kar-wai that I saw was Happy Together (1997) and like that film, the sight of a heartbroken Tony Leung turns you into a sad, queer mess by the end of it (or perhaps that was only me, projecting). There's so much to unpack in In the Mood for Love (2000) that warrants another viewing, but what I'm certain of after my first viewing is how the film builds on mood and atmosphere, crafting a "melancholic nostalgia" for a past one could see, but "could no longer touch." Melancholic or Melancholy Nostalgia is a term I borrowed from a book by two comics scholars who used it to describe the works of some American alternative cartoonists in the 1990s. IIRC, it refers to how these artists in their comics would long for a past or former countercultural moment, like perhaps the Undergrounds of the 1960s and find that is no longer there as the 20th century was coming to a close. For In the Mood for Love, however, this is expressed in the form of Mr. Chow (Leung) confessing and burying his unrequited love for Mrs. Chan (Maggie Cheung) at Angkor Wat. Thank you to @qcinemaph for giving me the chance to finally see this! Maliban sa Iguazu Falls sa Argentina, pangarap ko na ring mapuntahan balang araw ang Angkor Wat sa Cambodia! 🥺 #QCinema × #WKW ❤️ #IntheMoodforLove - #WongKarwai https://www.instagram.com/p/ClwMZx6PSZb/?igshid=NGJjMDIxMWI=

#qcinema #wkw #inthemoodforlove #wongkarwai

[jackngoart]

Maggie Cheung from In The Mood For Love. A fine Wong Ka-Wai movie. . . . . . . . . #jackngoart #asianheroes #inthemoodforlove #wongkarwai #maggiecheung #hongkongcinema #artist #digitalart #painting #cintiq #studies #practice #tonyleung https://www.instagram.com/p/BsT3n0EHNEm/?igshid=1lago1jmwjfmr

#jackngoart #asianheroes #inthemoodforlove #wongkarwai #maggiecheung #hongkongcinema #artist #digitalart #painting #cintiq #studies #practice #tonyleung

[micoc84]

Wolf Warrior (2015)- Wu Jing-d, Yu Nan, Kevin Lee Summer Palace (2008)- Lou Ye, Hao Lei, Guo Xiao Kung Fu Hustle (2004)- Stephen Chow-w/d, Dan Chan, Yuen Wah Kill Bill (2003)- Tarantino, Lucy Liu, Sonny Chiba, Kenji Ohba, G Liu Infernal Affairs (2002)- Andy Lau-d, Tony Leung, Tony Wong Chungking Express (1994)- Wong Karwai, Faye Wong, T Leung Farewell My Concubine (1993)- Chen Kaige, Leslie Cheung, Zhang F Once Upon Time (1991)- Tsui Hark, Jet Li, Yuen Biao, J Cheung Last Emperor (1987)- Bertolucci, John Lone, Joan Chen, Ying R Police Story (1985)- Jackie Chan, Bill Tung, Brigitte Lin, Maggie C Thirty Sixth Chamber (1978)- Liu Chia, Gordon Liu, Lo Lieh Way of Dragon (1972)- Bruce Lee, ray chow-p, Nora Miao, Paul W Gangster Cop (1970)- Yukio Noda, Sonny Chiba, Ryoji Hayama Flower Drum Song (1961)- Henry Koster, Nancy Kwan, J Shigeta Inn of Sixth Happiness (1958)- Robson, Pete Chong, Tsai Chin Sayonara (1957)- Josh Logan, Miyoshi Umeki, Marlon Brando  Godzilla (1954)- Ishiro Honda, Akira Taka, Momoko Kochi Seven Samurai (1954)- Kurosawa, Mifune, Shimura, Inaba, Kato Tokyo Story (1953)- Yasujiro Ozu, Chisu Ryu, Chieko Higas Ikiru (1952)- Kurosawa- Takashi Shimura, Miki Odagiri

Letters from Iwo Jima (06), Taste of Tea (04), Lost in Translation (2003), Zatoichi (03), Better Luck Tomorrow (02)- Justin Lin, Shaolin Soccer (01), Spirited Away (01), Ichi the Killer (01), Cowboy Bebop (01), Shaolin Soccer (01), Crouching Tiger (2000), In the Mood Love (2000)- Wong Karwai, Maggie Cheung, T Leung, Battle Royale (00), Road Home (99) Ghost in Shell (95), Rumble in Bronx (95), Chungking Express (1994), Fist of Legend (94), Eat Drink Man (94), Joy Luck Club (93), Farewell My Concubine (1993), Raise Red Lantern (1991), Days of Being Wild (1990) Ringu (88), Akira (88), Red Sorghum (1987)- Mo Yan,  Better Tomorrow (86), Ran (85), Shaolin Temple (82), Shogun (1980), Dirty Ho (79),  Drunken Master (78), Chinatown (1974), Streetfighter (74)- Chiba, Five Shaolin Masters (74), Robot Detective (73), Chinese Connection (72), True Grit (69), Yojimbo (61), World of Suzie Wong (1960)- Nancy Kwan, Will Holden, Fires on the Plain (1959), Floating Weeds (1959)- Ozu, Bridge on River (1957)- D Lean, Sessue Hayak,  Have Gun Will Travel (57)- Kam Tong  Love Splendored Thing (55), Rashomon (50), Late Spring (49), Lady From Shanghai (47)- welles, hayworth, Back to Bataan (45), Flying Tigers (42), Shanghai Express (32)- Anna Wong, Mask of Fu Manch (32), Charlie Chan Carries (31), House Without a Key (1926)

#sunset #visitors

[fuori-orario-film-posts]

Maggie Cheung photographed by René Habermacher, 2000s https://www.instagram.com/p/CHnsLfrAN8V/?igshid=13l9z9f5v82j8

[ekchaupal-blog]

In The Mood For Love 2001 में आई डायरेक्टर Wong Kar-Wai की फिल्म है। BBC ने इसे 2nd best film of 21st century का दर्जा दिया है। इसके cinematographer हैं Christopher Doyle और Mark Lee Ping-bing। Maggie Cheung और Tony Leung Chiu‑wai मुख्य पात्रों की भूमिका में हैं। Wong Kar-Wai के बारे में सबसे पहले पढ़ा था गीत चतुर्वेदी की किताब न्यूनतम मैं के अंदर जहाँ उन्होंने पूरी एक कविता उनके लिए लिखी है। फिर दुबारा पढ़ा मानव कौल की कहानी के भीतर। और फिर मैंने देखी उनकी फिल्म – In The Mood For Love. हम संवादों के पीछे पागल हैं। इस कदर पागल कि उसमें जरा सी भी चुप्पी की गुंजाईश दिखते ही घुटन की भविष्यवाणी कर कोई ना कोई निरर्थक शब्द को बीच में ले आकर खुद को बचा लेते हैं। लेकिन अक्सर, नहीं बहुत बार असल संवाद शब्दों से परे होता है। उन उठती, पड़ोस से गुजरती, टटोलती निगाहों में जितना खुद के छुए जाने का सुख है वो शब्दों में नहीं मिल पाता। और अक्सर शब्द झूठा कर देते हैं उस बात को जो हम कहना चाहते हैं। फिर हम देखते हैं कोई फिल्म और उसमें संवाद हो रहा है दो लोगों के बीच। जिसमें शब्दों से ज्यादा जो घट रहा है – नजरों से, छूने से, देखने से – वो कहीं ज्यादा सच है जो कहा जा रहा है। और ये इतना सुंदर होता है कि सोचने पर मजबूर करता है कि अगर हम इस जगह होते – तो इतना सच सह पाते, या फिर ठीक ऐसे ही क्षणों में हम शब्दों का सहारा लेकर सब छिछला कर देते हैं। धोखा देना शुरू कर देते हैं। असल संवाद चुप्पी के बाद शुरु होता है। एक आदमी और एक औरत। दोनों पड़ोसी हैं। दोनों को पता चलता है कि उनके पार्टनर एक दूसरे के साथ affair में हैं। दोनों जोड़े पड़ोसी हैं। आदमी और औरत ने एक दूसरे को देखा है आते हुए, जाते हुए, नजरों से टटोला है जो बीच में घटा है। कभी आदमी ने औरत को अकेले बाहर खाते देखा है, कभी औरत ने आदमी को अकेले अंधेरी सीढ़ियाँ चढ़ते देखा है। दोनों के पार्टनर बहुत दिनों से जापान गए होते हैं। वो एक दूसरे से मिलते हैं – अपन शक सामने रखते हैं और दोनों को पता चलता है कि ये बात दोनों को पता है। अब आगे क्या? आगे बस वो ये जानना चाहते हैं कि ये शुरू कैसे हुआ होगा? किसने पहल की होगी? क्या वो एक दूसरे से office में बात करते होंगे? क्या वो साथ खाते होंगे? ठीक इस पल जब ये दोनों खा रहे हैं तब वो दोनों क्या कर रहे होंगे? Continued in comments-: https://www.instagram.com/p/CDf0iODFhWs/?igshid=10twh7stda2k8

[tee-jay-666]

My review: Comrades: Almost a Love Story 甜蜜蜜 (1996) An amazing love story. This film is one of the best Hong Kong films to be ever made. It's a must-watch if your fan of Leon Lai and Maggie Cheung. Directing and cinematography are amazing. Peter chan nailed it in terms of directing. The story is very interesting cause it takes a lot of turns. From Xiaojun, a man coming from Mainland China to Hong Kong. Unable to speak English or Cantonese, has come to earn and marry the woman he left behind. So the story begins with him starting to work as a delivery man for a butcher and he meets this interesting/ambitious woman, Qiao. So yea... The story goes on as time passes by. Very interesting. It's such a complicated love story written and directed in simplicity. No words can describe how good it's written. Excellent acting. Amazing Story. My favorite line is when Qiao tells Xiaojun - “You’re not what brought me to H.K., and I’m not what brought you". #tianmimi #Comrades #comradesalmostalovestory #maggiecheung #leonlai #leonlai黎明 #hongkong🇭🇰 #cinematography🎥 #film #cinema #movie #Almostlovestory #1990s #1990 #hongkongmovie #cantonese https://www.instagram.com/p/B8rO2G6pZct/?igshid=11jti79lqnmur

#tianmimi #comrades #comradesalmostalovestory #maggiecheung #leonlai #leonlai黎明 #hongkong🇭🇰 #cinematography🎥 #film #cinema #movie #almostlovestory #1990s #1990 #hongkongmovie #cantonese