1. And When a Train Goes By...


    from Matte Chi / Added

    19 Plays / / 0 Comments

    A showdown of shots from Federico Fellini's "I Vitelloni" versus Wong Kar-Wai's "Fallen Angels." I'd say that on face value, Fellini's use of the interiors of the house are much more expressionistic than Wong Kar-Wai's fairly literal interpretation of inside versus outside. Fellini surprisingly expands Moraldo's point of view all the way into the homes of this loved ones, visualizing his interior thoughts. This somehow creates even more distance away from them as we cut back to Moraldo alone on this train heading away from home. As for Wong Kar-Wai, in a kind of reversal, we see the woman, in a private moment, inside Wo Chi-Ming's (the assassin) apartment. And these shots of the train are repeated quite a few times in the movie, hammering home this feeling of ships passing in the night. There's this inexorable distance here between Wong Chi-Ming and his partner - when she is in the apartment no one is looking in but the audience, and when she is outside looking into the apartment, the object of her desire isn't there. And while Fellini's sequence is personal and poignant, Wong Kar-Wai's take on the trope is just as potent, where unfulfilled and misplaced desire pervades his envisioned world. Of course, I'm not saying Wong Kar-Wai definitely alluded to Fellini in his film, but I remembered seeing a similarity and well, whose interpretations are left but mine when I watch a movie?

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      from DUMB BABY SOUNDS / Added

      In The Mood For Love - Wong Kar-wai - Song by John 7/David Lloyd - Edited by David Lloyd - Featuring David Lloyd / vocals, Sep Cipriano / keyboards, Mitch Horner / Bass

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      • Title Sequence // In the Mood for Love


        from Grégoire Saint-Gilles / Added

        49 Plays / / 0 Comments

        The project was to create a title sequence for a given film, in our case: In the Mood for Love. My co-worker and I took scenes from the film, which would later be modified. At the beginning, it was only a sequence of scenes, which were slightly blurred, and where the light was enhanced. Throughout our journey, we decided to fully enhance the effects, creating this constant glowing light blur. Our purpose was to evoke the movie's atmosphere, without revealing too much. The font in use is an uppercase Optima (humanist sans-serif typeface). Elegant in design, it brings a graceful touch to an imperceptible image. The music theme was composed by Shigeru Umebayashi, it is part of the original film score. // Project created in Cooperation with Agnes Giannaros.

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        • Wünsch dir was - 我爱你!我也爱你!


          from Julian C. Steiner / Added

          268 Plays / / 0 Comments

          Filmakademie Baden-Württemberg Szenenbildworkshop Regie: Klaus Merkel Cinematography: Julian C. Steiner Production Design: Zelda Laggies Schnitt: Ewa Wojakowska Sounddesign: Johannes Knott

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          • REBELS OF THE NEON GOD -- Official US Trailer


            from J. Howell / Added

            1,408 Plays / / 0 Comments

            Opened April 10 at the Film Society of Lincoln Center and Quad Cinemas in NYC, June 12 at the Landmark Nuart Theatre in LA! Updates here: Facebook.com/bigworldpix More info: www.bigworldpictures.org

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            • Non sequitur


              from Pam Cook / Added

              Still images from 'In the Mood for Love' (2000) edited together to show the role of the cheongsam in creating a sense of discontinuous, non-sequential time.

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              • Corridors of Desire


                from Pam Cook / Added

                A comparison between 'Brief Encounter' (1945) and 'In the Mood for Love' (2000) pointing up the echoes between them.

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                • Wait ...


                  from Pam Cook / Added

                  A poetic evocation of Tony Leung's performance as a man in waiting in Wong Kar-wai's 2000 movie 'In the Mood for Love'.

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                  • Timeless


                    from Pam Cook / Added

                    Cinematic processes of memory visualised through the cheongsam in 'In the Mood for Love'. Every change of Li-zhen's dress appears, in sequence, to show the play with narrative and time. The import/export process resulted in colour fading, banding and pixel noise. Image deterioration intensifies the film's meditation on memory and a lost past. ”Those bygone days were something he could only look at through a dusty window pane, something he could see, but couldn't touch. And everything he saw was blurred and indistinct.” Liu Yi-chang, ‘Intersection’, one of the inspirations for Wong's film.

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                    • WONG KAR-WAI – There`s Only One Sun (2007)


                      from Ian Turpen / Added

                      150 Plays / / 0 Comments

                      WONG KAR-WAI - "There's Only One Sun" (2007) Jet Tone Films / Anonymous Content for Philips 9 min This is a commercial digital intermediate project completed at Company 3 LA that I received a credit on as Lead Scanner. Digital Intermediate by Company 3 LA Digital Color Grading Supervisor - William Chang Suk Ping Colorist - Stefan Sonnenfeld DI Producer - Michael Boggs Lead Scanner - Ian Turpen Scanning Operator - Lance Betway Dust-busting - Chris Clausing Press Release: ANONYMOUS CONTENT’S WONG KAR-WAI CREATES INTEGRATED BRILLIANCE FOR PHILIPS From Anonymous Content’s Wong Kar-Wai comes this visually stunning short film that will be distributed via the web, DVD, and used as a select promotional piece. The film features up- and-coming French actress Amelie Daure who subtly promotes the innovative technologies of the new Philips Aurea television. This sexy, futuristic spy thriller takes the viewer through secret agent 006’s mission to bring down the enemy from the inside. Kar-Wai’s use of color and light make the piece a truly visual, unique feast for the eyes. The ambiance for this futuristic world is created through a myriad of colors that blend, meld and pulse - alternating between under and overexposure of light. Written and Directed by Wong Kar-Wai Produced by Jet Tone Films and Anonymous Content for Philips Director of Photography - Philippe Le Sourd Editing and Production Design - William Chang Suk Ping Art Direction - Alfred Yau Wai Ming Special Effects - Bruce Law Lai Yin Cast Amélie Duare is Agent 006 Gianpaolo Lupori is The Light Stefan Morawietz is the senior agent Soundtrack: Long Journey by Shigeru Umebayashi; Siboney by Ernesto Lecuona, as sung by Connie Francis

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