El interés de la ortodoxia y la heterodoxia fotográfica en Deseando Amar (In the Mood for Love, Wong Kar-wai, 2000)
Full Text
Share
China is at the forefront of 2020.
But these days few remember that on 20 May
Cannes was to celebrate the twenty years
since the premier of the film In the Mood for
Love with a restored 4K version of the original negative. The anniversary is surprisingly
appropriate, not only for the country of origin
of the project, but also for the way in which
the rupture with classical photographic/visual rules takes shape in the film. This occurs
through the lack of communication in the society, the forgetfulness, the distance between
characters, the gestures brimming with meaning, the confinement, the empty spaces and
the periods of silence