In the Mood for Love (2000)
Film Society of Lincoln Center
If you’re emotionally prepared, the massive 62-film series “Emotion Pictures: International Melodrama” has begun featuring In the Mood for Love, The Umbrellas of Cherbourg, Letter from an Unknown Woman, The Housemaid, and more this weekend.
Museum of Modern Art
An all-inclusive Michelangelo Antonioni retrospective is still underway.
The Hong Kong Second Wave filmmaker loves synchronicity. he films of Wong Kar-wai, specifically In the Mood for Love, are vivid portraits of desire (and often, the desire Of desire). In the Mood for Love specifically embodies this through a lyrical visual storytelling technique that creates a feeling of interfilm interaction between shots and components. […]
The article In the Mood for Interaction: Wong Kar-wai’s Intersections appeared first on Film School Rejects.
After 25 years in the industry, Wing just launched a limited-edition three-book box set of his work at the opening of his retrospective at the Shanghai Centre of Photography (SCoP).
“I change my direction regularly,” says Wing, who is definitely...
The movie stars Tony Leung Chiu-wai (“The Grandmaster,” “In The Mood for Love”) and singing-acting superstar Aaron Kwok, the star of “Port,” which carried Hong Kong’s foreign-language Oscar hopes last year.
The story involves two corrupt cops, who rise to the top levels of the police force each controlling different parts of the city while simultaneously being steeped in organized crime. After initially working in perfect unison, their relationship turns to one of rivalry.
“Port of Call” was an unconventional breakthrough for Yung, who wrote and directed. Based on real events involving the murder of a prostitute in 2008, and with his script revealing the killer midway through, it could not qualify as a whodunit. Rather it provided an unusual intensity and elicited a strong performance from Kwok as a disillusioned former detective
Continue reading Wong Kar-Wai Talks Amazon Series ‘Tong Wars,’ Drops ‘Gucci’ Movie at The Playlist.
Details on the series were scant at the time, but in a conversation with journalists at the Lumiere Festival in Lyon, Wong explained the epic sweep of the show. “The thing that attracted me to this project was the first opportunity to
The ceremony was marked by emotional speeches — Assayas (who is divorced from In the Mood for Love star Maggie Cheung) called Wong “a grand poet of cinema” — and raucous routines.
Zhang Ziyi sent a video message, telling her Grandmaster director that he “should get awards everyday.”
Wong's longtime cinematographer Christopher Doyle also took the stage with...
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The film is divided across three chapters. The first, titled Preschooled, follows the students of a local private school,
The post Wong Kar-Wai is in the Mood to Direct Crime Drama Series ‘The Tong Wars’ for Amazon appeared first on /Film.
Four years ago while on the press tour for The Grandmaster, the director said, “I’ve always wanted to make a film about the Tong Wars, the rioting and the crime factions in San Francisco’s Chinatown in the early part of the last century.” Well, he’s now going to get his chance, albeit not in the initially-desired form.
Amazon Studios has announced Wong Kar-wai will direct Tong Wars, an hour-long drama series written and executive produced by Paul Attanasio (Donnie Brasco, The Good German), Variety reports.
Read More:Lush New Video Essay Compares ‘Moonlight’ With the Masterworks of Wong Kar-Wai — Watch
Beloved by cinephiles for such films as “In the Mood for Love” and “Chungking Express,” the Hong Kong helmer is the latest world-renowned auteur to try his hand at small-screen drama. The period piece will be written by Paul Attanasio (“Quiz Show,” “Donnie Brasco”) and, according to Amazon Studios chief Roy Price, is “a very compelling show.” It’s also described as “a prime example of a period piece that
But others said that the Academy’s decision to include more Chinese and Asian faces was an effort to boost diversity rather than a bow by Hollywood to China, and that the new Chinese additions would have a negligible impact on Chinese films’ Oscar prospects.
Fourteen industry heavyweights from mainland China and Hong Kong are among the 774 new invited members. The news made headlines throughout Greater China.
“China raves over record number of Chinese filmmakers to join the Academy,” one headline declared.
The 10 invitees from Hong Kong are actresses Maggie Cheung (“In the Mood for Love”) and Carina Lau (“Days of Being Wild”); actors Tony Leung (“In the Mood for Love”) and Donnie Yen (“Ip Man
That’s why we think it’s important to single out the very best films that also happen to be incredibly sexy, titillating, and provocative. These are not only some of our favorite films in general, but they’re films that celebrate the broad spectrum of human sexuality while telling stories as cinematic as they are personal. Some don’t have any sex scenes at all, while some are notoriously near-pornographic. When these movies do show sex it is always in service of the story, and always in order to challenge, subvert, or celebrate contemporary beliefs about sexuality.
Turn on (and get turned on) by our list of the 25 best sexy movies of the 21st century (well, so far). You know you want to.
25. “Vicky Cristina Barcelona” (2008)
Undeniably sexy and amusing at once, Woody Allen’s 2008 Spain-set dramedy delights in pushing its various players into all sorts of romantic permutations and configurations. Anchored by Scarlett Johansson in a sneaky performance as the eponymous Cristina (pre-breakout Rebecca Hall is her best pal Vicky), the film follows a pair of friends as they meet and make lots of love with the beguiling Juan Antonio (Javier Bardem), who isn’t at all thrown off by the possibility of having two lovely ladies in his bed. In fact, he’s got another one to think about too, his free-spirited ex-wife (Penelope Cruz), who he just can’t get out of his head (or heart). On the surface, “Vicky Cristina Barcelona” is a dead sexy romp about free-wheeling love-makers (complete with plenty of naughty bits), but it’s also a film that boldly explores issues of fluidity and fidelity with an uncharacteristically easy touch. -Ke
24. “Shortbus” (2006)
With its three-person blowjob circle, non-simulated sex scenes including ejaculation, and close-up of a pee stream unleashing into a bathtub, “Shortbus” is not for everyone. It’s an ambitious film, one that attempts to have fun, be sexy, and tell a good story. If anyone could pull it off, it would be the man behind “Hedwig and the Angry Inch,” John Cameron Mitchell. “Shortbus” feels as much like an ensemble comedy as a playful experiment, though the two main characters are a sex therapist who’s never had an orgasm and a retired gay sex worker experimenting with opening up his relationship. With their partners, they both begin attending a weekly artist and sex salon, each hoping inspiration will strike. Mitchell wanted to use sex in new cinematic ways, “because it’s too interesting to be left to porn.” If it’s interesting sex you want, “Shortbus” has got it. -Jd
23. “Brokeback Mountain” (2005)
The end of this film is so movingly profound that your memory of it might not be that it was all that sexy. The love between these two men, buried under their rugged cowboy exteriors, ends with what can only be described as a sense of life-defining tragedy. Yet it is those brief moments where they let themselves go and unleash their animalistic passion, which “Crouching Tiger” director Ang Lee captures in his normal visceral fashion, that add a level of eroticism and physically affection that nearly makes all the pain worth it. Ennis and Jack rotate from almost fighting, as they pull at each others’ denim-clad exterior, to moments of being naked and incredibly tender. It’s virtually every cowboy fantasy rolled up into one. That they can only be themselves in the privacy of the great outdoors makes everything that much more liberating. Watching this film in 2005 felt taboo and rebellious, which resulted in a charged atmosphere in packed mainstream cineplexes around the country. -Co
22. “In the Cut” (2003)
Jane Campion’s handle on female desire has always been one of her best attributes as a director (and she’s got a lot of them), but nothing in her filmography is as overtly sexy and emotionally challenging as her 2003 Meg Ryan-starrer “In the Cut” (and that includes “The Piano,” which has a sexiness and eroticism all its own). Our first introduction to Ryan’s character is rooted in her coming to heady terms with her own sexuality, a theme that carries over throughout the often grisly drama. Increasingly drawn to Mark Ruffalo as a moody detective looking to solve a local murder that Frannie is tangentially involved in, Ryan’s character pushes the boundaries of “acceptable” desire. It’s a theme that Campion giddily plays into with some of modern cinema’s most satisfying and profound sex scenes, many of which center on — gasp — Frannie’s own pleasure over that of Ruffalo’s character. -Ke
21. “Hustle & Flow” (2005)
Craig Brewer’s crowdpleaser about a pimp dreaming of music fame is anchored by strong performances from Terrence Howard, Taraji P. Henson, and Taryn Manning. Howard plays Djay, while Henson and Manning are Shug and Nola, two of his girls. Hot-tempered and passionate, Djay begins making tracks with his friend Key (Anthony Anderson), and discovers he has a gift for lyrics. The catchy original soundtrack helps sell the story, as Djay’s songs seem to actually have a chance at getting radio play. While the strip club setting provides ample shots of semi-nude women, Djay and Shug’s sweet romance gives the film its emotional core and shows a softer side to Djay (and his temper). Their undeniable chemistry leads the previously timid Shug to throw down a sexy hook, her raspy croon on “It’s Hard Out Here for a Pimp” making Henson’s star power glaringly obvious. -Jd
20. “Beyond the Lights” (2014)
Chemistry is the name of the game in Gina Prince-Bythewood’s freight-train fast music industry romance, which pairs up rising starlet Gugu Mbatha-Raw (pure charm) alongside pre-“Birth of a Nation” Nate Parker. The pair exhibit major fireworks from the start, imagining Mbatha-Raw as hot new pop star Noni Jean, a big talent who is dangerously close to burning out and fading away, before she falls into the protective arms Parker’s do-gooder cop, Kaz Nicol. Prince-Bythewood’s film cannily sneaks in big questions about fame and the entertainment industry, along with issues regarding what’s actually sexy (Noni Jean is frequently kitted out in teensy costumes that make record execs happy, while diminishing her own humanity with every stitch), deep issues that are lovingly cradled by full-scale love story. When the pair finally give into their obvious attraction, “Beyond the Lights” pulls out the big guns, all gauzy love scenes and one particularly hot trip to Mexico, but the film maintains its sensuality by remembering that nothing is so sexy as mutual respect and admiration. -Ke
19. “In the Mood for Love” (2000)
Every Wong Kar-wai movie contains a kind of visual sensuality in every frame, but “In the Mood for Love” goes one step further — its slow-burning romance between a pair of would-be lovers who live across the hall from each other in sixties-era Hong Kong is rich with unobtainable desire. Much is left unsaid and unachieved about the fantasy of an extramarital affair shared by Chow Mo-wan (Tony Leung) and Su Li-zhen (Maggie Cheung), but the hints of attraction between them, unfolding in small gestures and passing glances, imbues each scene with the intensity of emotions specific to a period of repression. It’s a grand tragedy of issed opportunities framed by erotic implications. —Eric Kohn
18. “Ex Machina” (2014)
If you like high-tech voyeurism and intellectual sparring, you might find Alex Garland’s cerebral sci-fi thriller unearthing some hidden desires. An affable young programmer, Caleb (Domhnall Gleeson), is invited to the secluded jungle home of the CEO of his company, Nathan (Oscar Isaac) to participate in a top-secret experiment. Nathan wants to know if the cyborg he has been developing, Ava (Alicia Vikander) can convince Caleb that she has real consciousness. The tension is ripe between Nathan and Caleb as each attempts to alternately impress and control the other, but it is Caleb’s obsession with saving Ava that raises questions about the hero myth. Ava is the embodiment of male fantasy, trapped within a body invented to please and serve. As the two men fight over who best understands her mind, it turns out Ava was pulling the strings all along. There’s nothing sexier than a woman in charge. -Jd
17. “Quills” (2000)
It’s easy enough to get sucked into “Quills” based on the promise of Joaquin Phoenix playing an earnest (and incredibly sexy) young priest tempted by his attraction to a chambermaid. But somehow, much like Kate Winslet’s Madeline, we fall under the spell of the charismatic Geoffrey Rush, who plays his role as the Marquis de Sade with a deliciously dirty panache befitting the notorious French writer. The Marquis’ libertine ways run counter to the no-nonsense Royer-Collard (Michael Caine), who takes over the asylum with the intention of stifling the writer’s creative output. But even his own wife is no match for the words of the Marquis, which ooze both sensuality and liberty. Before long, any initial apprehension to the Marquis de Sade (he is a dirty old man, after all) is fully given over to the hope that his debauchery will win out, and that his desire, as well as that of Madeline and Coulmier (Phoenix) will be fully fulfilled — even though we know this is impossible. -Jr
16. “A Bigger Splash” (2015)
Watching “A Bigger Splash” feels like observing a sizzling chess game of attraction. Luca Guadagnino sticks Ralph Fiennes, Tilda Swinton, Matthias Schoenaerts, and Dakota Johnson on the world’s most gorgeous island and lets the sparks fly. Swinton plays a world-famous rock singer vacationing with her lover, a chiseled Schoenaerts who is practically a walking and talking sculpture of male beauty. Their time together is disrupted by the arrival of the rocker’s former lover and his daughter, a promiscuous young 22-year-old. Each character is so ready to succumb to sexual desire and so pent up with sexual attraction that Guadagnino creates the ultimate emotional orgy. The fun is in seeing how each person uses their sexuality to outsmart the next. You’ll be seduced from the first frame to the last. It feels like you’re watching each actor for the very first time. -Zs
On the next page: wild adventures in Florida, some of the century’s most jaw-dropping pairings, and at least one murder.
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Run by French director Bertrand Tavernier and Cannes artistic chief Thierry Fremaux, the festival said it was paying tribute to Wong for “his unclassifiable films, each with countless flares of beauty, for the trace he is leaving upon cinema history, for all that is glorious and lingering in his work, for the neon lights of Hong Kong and the snows of Manchuria, and because, after all, dark glasses” – Wong’s trademark look – “are undeniably classy.”
The festival, organized by Lyon’s Institut Lumiere, added that Wong’s films, which include “Happy Together” and “Chungking Express,” have “reached beyond the circle of moviegoers and critics, attracting a public drawn to his search for the aesthetic and poetic.”
There are so many remarkable things about the success of Barry Jenkins’ “Moonlight,” a Best Picture winner that was a low-budget indie, featured gay protagonists, and was directed by an African American. Yet for all of its boundary breaking, the most radical thing about “Moonlight” often goes unnoticed: Jenkins is the first major, American Academy Award-winning director whose film lineage is distinctly non-American.
Auteurs like Martin Scorsese and Francis Ford Coppola – and the generation of filmmakers who walked in their footsteps – were heavily influenced by European art cinema, but defined their careers by striking a balance between Hollywood traditions and arthouse freedoms.
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