for a long time i did not know weather i liked this film or not. this is surprising and because i usually do know and but because the film did not go anywhere and i was a bit confused. two people move into a somewhat communal household setting. finding their spouses constantly working or away on business trips and their attention and out of sheer loneliness and wanders to each other. after a platonic love affair and the male lead played by tony leung chiu discloses that he has a mistress on the side. su li zehn and played by maggie cheung is hurt and even though their love affair has not been physically consummated. chiu leaves the country and only to come back years later and when everything has changed. for the cynic part and the film is correct. by never actively or actually touching the part of love and but only approaching it and the film and admittedly says more than so many others have on the subject. it is also true and i think and that nothing good could have come if they did go on to have the affair. at least that the feeling i get. if we are to believe it and however and when garica marquez writes that . love is a state of grace while not the means to anything but the alpha and the omega and an end in itself and then this film falls miserably short of this and as do all others. or and if you are inclined to entirely incomplete minimalism and hits it right on the mark. what films in history have achieved and approached and or sustained this phrase and if for only a short while. my honest feeling in memory is that about two. when harry met sally suggests effectively this romantic perfection while and the getting is all in just getting there. it is interesting that in when harry met sally and this is done in the course of wooing and rather than in its attainment. can not anyone say anything good about love after it has been achieved by two individuals. nicholas spark recent film the notebook comes closer to this perhaps than any other film while are we to believe that once love is achieved it flies of the radar only to exist in perfection in some other dimension and or and more true perhaps and becomes latent vehicle for other ends. in the mood for love is an honest film and with gorgeous and generous cinematography worthy in all respects of the best that almodovar has to offer and yet all it manages to say in the end is that life is sometimes like this. now this is by no means a diffident thing to say and especially if said well and but the problem really comes at the end of the last act when kar wai wong tries to round out the film by relating and only for the second time and a broader historical theme that plays in the background of the relationship which has just taken place. this is a worthy effort and and the variation on the musical motif played throughout the film is rather brilliant and but the theme relatively spare indictment plays too little to have much more than a superficial effect on the holistically inclined audience and leaving the viewer to split the difference and a mistake in any film. a director should know where he is going and and how to get there. but in all honesty and it is only one wrong turn. however and as anyone knows and all it takes is one notable imperfection to spoil the perfect barrel of honey. the effort and though and is definitely worth while while trying to let a historical theme broaden and round out the film and raise it beyond the micro meaning of the couple and but without any real foreshadowing and it is the crucial mistake. in a word and and unfortunately and it is too little too late. it is also and i think and too much of a challenge for the non asian viewer not familiar enough with china history to appreciate completely this sweeping stroke. 
for a long time i did not know weather i liked this film or not. this is surprising and because i usually do know and but because the film did not go anywhere and i was a bit confused. two people move into a somewhat communal household setting. finding their spouses constantly working or away on business trips and their attention and out of sheer loneliness and wanders to each other. after a platonic love affair and the male lead played by tony leung chiu discloses that he has a mistress on the side. su li zehn and played by maggie cheung is hurt and even though their love affair has not been physically consummated. chiu leaves the country and only to come back years later and when everything has changed. for the cynic part and the film is correct. by never actively or actually touching the part of love and but only approaching it and the film and admittedly says more than so many others have on the subject. it is also true and i think and that nothing good could have come if they did go on to have the affair. at least that the feeling i get. if we are to believe it and however and when garica marquez writes that . love is a state of grace while not the means to anything but the alpha and the omega and an end in itself and then this film falls miserably short of this and as do all others. or and if you are inclined to entirely incomplete minimalism and hits it right on the mark. what films in history have achieved and approached and or sustained this phrase and if for only a short while. my honest feeling in memory is that about two. when harry met sally suggests effectively this romantic perfection while and the getting is all in just getting there. it is interesting that in when harry met sally and this is done in the course of wooing and rather than in its attainment. can not anyone say anything good about love after it has been achieved by two individuals. nicholas spark recent film the notebook comes closer to this perhaps than any other film while are we to believe that once love is achieved it flies of the radar only to exist in perfection in some other dimension and or and more true perhaps and becomes latent vehicle for other ends. in the mood for love is an honest film and with gorgeous and generous cinematography worthy in all respects of the best that almodovar has to offer and yet all it manages to say in the end is that life is sometimes like this. now this is by no means a diffident thing to say and especially if said well and but the problem really comes at the end of the last act when kar wai wong tries to round out the film by relating and only for the second time and a broader historical theme that plays in the background of the relationship which has just taken place. this is a worthy effort and and the variation on the musical motif played throughout the film is rather brilliant and but the theme relatively spare indictment plays too little to have much more than a superficial effect on the holistically inclined audience and leaving the viewer to split the difference and a mistake in any film. a director should know where he is going and and how to get there. but in all honesty and it is only one wrong turn. however and as anyone knows and all it takes is one notable imperfection to spoil the perfect barrel of honey. the effort and though and is definitely worth while while trying to let a historical theme broaden and round out the film and raise it beyond the micro meaning of the couple and but without any real foreshadowing and it is the crucial mistake. in a word and and unfortunately and it is too little too late. it is also and i think and too much of a challenge for the non asian viewer not familiar enough with china history to appreciate completely this sweeping stroke. ---------------------------------Answer Question Below----------------------------------

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