In The Mood For Love Stream Film-Bewertung

Jetzt Verfügbarkeit von In the Mood for Love überprüfen. Melancholische Geschichte der Liebe zwischen einer Frau und einem Mann, die im selben Gebäude. Gibt es In The Mood For Love auf Netflix, Amazon, Sky Ticket, iTunes und co? Jetzt online Stream finden! In the Mood for Love Format: Prime Video (streaming online video) is worth of being a story in its own right, but for the references to In The Mood. In The Mood For Love stream german, In The Mood For Love kinostart, In The Mood For Love ganzer film, In The Mood For Love online stream, In The Mood For. *X3T(HDp)* Film In The Mood For Love Streaming Deutsch. In The Mood For Love Online Schauen HD (Deutsche-Austria). | Xfinity StreamYour browser.

in the mood for love stream

In The Mood For Love als Stream in HD online anschauen auf Openload & Streamango bei hortlaxdata.se, deiner neuen Streaming-Seite. Tausende Filme kostenlos. In the Mood for Love Format: Prime Video (streaming online video) is worth of being a story in its own right, but for the references to In The Mood. In the Mood for Love. Hongkong-Kino mit Gefühl: Wong Kar-wai inszeniert die zarte Versuchung der Liebe. Bewertung. In the Mood for Love - Der Klang der.

In The Mood For Love Stream In The Mood For Love kinostart ganzer film deutsch 2000

Koo Kam-Wah. Kar-wai Wong. Ping Bin Lee. Shivam furious 8 fast ganzer film deutsch komplett. Ein Click von. Suche nach: In the Mood for Love bei. Eigentlich sollten sie ein Paar spielen, das sich am Platz 2019 tickets Himmlischen Click trifft, aber die Behörden lehnten ab. News Noch keine Inhalte verfügbar.

In The Mood For Love Stream - Beschreibung

Little Children. Chow und Li-zhen: der schicksalshafte Umstand verbindet zwei vergebene Seelen und entzweit sie wieder, da die Liebe zwischen ihnen nicht existieren darf. Wong Kar-Wai. Doch diese Art zu arbeiten sorgte fast für ein vorzeitiges Drehende ohne überhaupt eine Sekunde im Kasten zu haben: die chinesischen Behörden wollte den Dreh in Peking ohne vorgelegtes Drehbuch nicht genehmigen, doch Kar-Wai Wong fand schnell eine Lösung. Home Recomended Tony Leung Chiu Wai. Our flagship theme is avenger reihenfolge customizable through click options panel, so you can modify the design, layout and typography. Eyes Wide Shut. Shigeru Umebayashi. Christopher Doyle. See more Leung Chiu-Wai. Subscribe via email. Fernöstliche Symphonie. Tony Leung Chiu Wai. Fallen Angels. Die besten Streaming-Tipps gibt's im Moviepilot-Podcast Streamgestöber. Originaltitel: Fa yeung nin wa. In the Mood for Love - Der Klang der Liebe ist ein. In the Mood for Love. Hongkong-Kino mit Gefühl: Wong Kar-wai inszeniert die zarte Versuchung der Liebe. Bewertung. In the Mood for Love - Der Klang der. In The Mood For Love online deutsch stream komplett HD 🥇. In The Mood For Love german stream online komplett In The Mood For Love () stream deutsch sehen In The Mood For. In The Mood For Love als Stream in HD online anschauen auf Openload & Streamango bei hortlaxdata.se, deiner neuen Streaming-Seite. Tausende Filme kostenlos.

In The Mood For Love Stream Video

The Shawshank Redemption

Soon, they are shocked to discover that their spouses are having an affair. Hurt and angry, they find comfort in their growing friendship even as they resolve not to be like their unfaithful mates.

You May Also Like. Eps 1 Dance with Me. Eps 1 The Closet Eps 1 The Island of Cats. Eps 1 Ossan's Love Love or Dead.

Eps 1 Tale of the Wulong Town. Eps 1 The Grand Grandmaster. Eps 1 Go Away, Ultramarine. Eps 1 The Enchanting Phantom. Eps 1. Eps 1 Khun Phaen Begins.

Eps 1 Bring Me Home. Eps 1 No Longer Human. Eps 1 The Girl Opposite to Me. The film documents the leads' chance encounters, each making his and her individual trek to the street noodle stall, sometimes intersecting without connecting.

Chow and Su each nurse suspicions about their own spouse's fidelity; each comes to the conclusion that their spouses have been seeing each other.

Su wonders aloud how their spouses' affair might have begun. Su and Chow re-enact what they imagine might have happened.

Chow soon invites Su to help him write a martial arts serial for the papers. Their neighbours begin to take notice of Su's prolonged absences.

In the context of a socially conservative s Hong Kong , friendships between men and women bear scrutiny. Chow rents a hotel room away from the apartment where he and Su can work together without attracting attention.

The relationship between Chow and Su is platonic, as there is the suggestion that they would be degraded if they stooped to the level of their spouses.

As time passes, however, they acknowledge that they have developed feelings for each other. Chow leaves Hong Kong for a job in Singapore.

He asks Su to go with him; Chow waits for her at the hotel room and then leaves. She can be seen rushing down the stairs of her apartment, only to arrive at the empty hotel room, too late to join Chow.

The next year, Su goes to Singapore and visits Chow's apartment. She calls Chow, who is working for a Singaporean newspaper, but she remains silent when Chow picks up.

Later, Chow realises she has visited his apartment after seeing a lipstick-stained cigarette butt in his ashtray. While dining with a friend, Chow relays a story about how in older times, when a person had a secret that could not be shared, he would instead go atop a mountain, make a hollow in a tree, whisper the secret into that hollow and cover it with mud.

Three years later, Su visits her former landlady, Mrs. Suen is about to emigrate to the United States, and Su inquires about whether the apartment is available for rent.

Some time later, Chow returns to visit his landlords, the Koos. He finds they have emigrated to the Philippines. He asks about the Suen family next door, and the new owner tells him a woman and her son are now living there.

He leaves without realising Su is the lady living there. At the site of a ruined monastery, he whispers for some time into a hollow in a ruined wall and then plugs the hollow with mud.

The film's original Chinese title, meaning "the age of blossoms" or "the flowery years" — a Chinese metaphor for the fleeting time of youth, beauty and love — derives from a song of the same name by Zhou Xuan from a film.

The English title derives from the song " I'm in the Mood for Love ". Director Wong had planned to name the film Secrets until listening to the song late in post-production.

In the Mood for Love went through a long gestation period. In the s, Wong Kar-wai found some commercial success, much critical acclaim, and wide influence on other filmmakers throughout Asia and the world with films such as Chungking Express and Fallen Angels , both set in present-day Hong Kong.

His film Happy Together was also successful internationally, winning him Best Director at the Cannes Film Festival and surprising many.

It was even popular with mainstream audiences in Hong Kong, despite its then-unusual focus on a gay love story and its having been largely improvised in Argentina, a landscape unfamiliar to Wong.

By the end of the decade, with sovereignty of Hong Kong transferred from Britain to the People's Republic of China, Wong was eager to work once more in the mainland, where he had been born.

He had been dissatisfied with the final result of his wuxia epic Ashes of Time , which was set in ancient times and filmed in remote desert regions, and decided to deal with a more 20th-century, urban setting.

By , Wong had developed a concept for his next film Summer in Beijing. Although no script was finalized, he and cameraman Christopher Doyle had been to Tiananmen Square and other areas of the city to do a small amount of unauthorized shooting.

Wong told journalists the film was to be a musical and a love story. Wong secured the participation of Tony Leung Chiu-wai and Maggie Cheung to star, and with his background in graphic design, had even made posters for the film.

He had begun work on script treatments, which since Days of Being Wild , he tended to treat as only a very loose basis for his work to secure financing, preferring to leave things open to change during the shoot.

It transpired that there would be difficulties securing permission to shoot in Beijing with Wong's spontaneous methods of working and potential political sensitivities in setting his film in midth century China.

Wong had come to think of Summer in Beijing as a triptych of stories, much like his original concept of Chungking Express in which the third story had been spun off into the film Fallen Angels.

Quickly, Wong decided to jettison this structure, saving only one of the three planned stories, which had been titled provisionally, A Story of Food , and dealt with a woman and a man who shared noodles and secrets.

As he reunited with his actors and production team, most of whom had collaborated several times before, Wong decided A Story of Food would be the heart of his next film.

The story would slowly evolve into In the Mood for Love , after transposing its setting away from mainland China and back to s Hong Kong.

Wong had set his breakthrough Days of Being Wild in that time in Hong Kong, when mainland-born Chinese and their memories, including those of Wong, then a young child, had a strong presence in the territory.

Still saturated with the sounds of s and s Shanghai singing stars and the ideals they represented, the time also reminded him of the wide array of vibrant dance music floating in over the Pacific from the Philippines, Hawaii, Latin America and the United States, which Wong had used as a backdrop in Days of Being Wild.

Wong had regarded Days of Being Wild upon its release in as an artistic success, and had planned a sequel to it.

However, his producers had been disappointed by its box-office returns, particularly given that its shoot had been prolonged and expensive, with Wong, who had come out of the Hong Kong industry, first attempting to work more independently, including collaborating for the first time with cinematographer Christopher Doyle, who favored jazz-like spontaneity in his shooting methods.

Despite involving many of Hong Kong's top stars, the film's profits had been modest, so Wong was not given the opportunity to follow it up.

Yet as he moved on to other films, he had always retained the dream of doing so. With the impossibility of the original idea of Summer in Beijing , he was now able to pursue it.

The cast of Maggie Cheung and Tony Leung in A Story of Food soon to become In the Mood for Love provided an opportunity to pick up a loose thread of Days of Being Wild , as the actors had appeared in that film, although never together.

Leung's few scenes had been left incomplete, awaiting Wong's planned sequel that was never made. The writing of essentially began at the same time as that of In the Mood for Love.

Because neither film had its plot, structure, or even all its characters, scripted in advance, Wong began working on the ideas that eventually made it into during the shoot of In the Mood for Love.

As he and his collaborators made the film in a variety of settings, its story took shape. Eventually, these constantly developing ideas, taken from one of the remnants of Summer in Beijing , were developed too much to fit into one film.

Wong discarded most of the footage and story before arriving at In the Mood , later reshooting and reimagining the rest as Wong's plan to make a film set primarily in Hong Kong did not simplify matters when it came to the shoot.

The city's appearance was much changed since the s, and Wong's personal nostalgia for the time added to his desire for historical accuracy.

Wong had little taste for working in studio settings, let alone using special effects to imitate the look of past times.

Christopher Doyle later discussed the necessity of filming where the streets, the buildings, and even the sight of clothes hanging on lines as in s Hong Kong could give a real energy to the actors and the story, whose outlines were constantly open to revision as shooting progressed.

While set in Hong Kong, a portion of the filming like outdoor and hotel scenes was shot in less modernized neighborhoods of Bangkok, Thailand.

Further, a brief portion later in the film is set in Singapore one of Wong's initial inspirations on the story had been a short story set in Singapore, Intersection , by the Hong Kong writer Liu Yichang.

In its final sequences, the film also incorporates footage of Angkor Wat , Cambodia, where Leung's character is working as a journalist. The film took 15 months to shoot.

They required a lot of work to understand the times, being slightly younger than Wong and having grown up in a rapidly changing Hong Kong or, in Maggie Cheung's case, partly in the United Kingdom.

Cheung portrayed s Chinese screen icon Ruan Lingyu in Stanley Kwan's film Center Stage , for which she wore qipao , the dresses worn by stylish Chinese women throughout much of the first half of the 20th century.

It had been Cheung's most recognized performance to date and her hardest, partly due to the clothing, which restricted her freedom of movement.

For Wong's film, Cheung, playing a married woman in her thirties who had carried over the elegance of her younger years in the pre-revolutionary mainland, would again wear qipao, known in Cantonese as cheongsam, and spoke of it as the way of understanding her character Su Li-zhen, whose quiet strength Cheung felt was unlike her own more spontaneous spirit.

The cinematographer Christopher Doyle , for whom the film was the sixth collaboration with Wong Kar-wai, [4] had to leave when production went over schedule and was replaced by Mark Lee Ping Bin , renowned for his work with Taiwanese filmmaker Hou Hsiao-hsien.

Some scenes in the final cut are thought to have been shot by each, with some critics noting differences between Doyle's more kinetic style as seen in earlier Wong movies, and the more subtle long shots of Lee framing key parts of In the Mood for Love.

Critic Tony Rayns, on the other hand, noted in a commentary on another Wong film that the differing styles of the two cinematographers were blended seamlessly by Wong's own fluid aesthetic.

Like all of Wong's previous work, this one was shot on film, not digitally. Doyle's departure did not result from major artistic arguments with Wong.

However, despite his agreement with Wong's spontaneous approach to scripting, he found it frustrating to reshoot many of the key moments over and over in environments throughout Southeast Asia until they felt right to the director.

He had to turn down many other projects due to the total commitment, without a clear time limit, required by Wong.

Several years later Doyle initially signed on to work on the sequel , but he also abandoned that project halfway through for similar reasons being replaced by a range of DPs and has not worked with Wong since.

Tony Leung, on the other hand, returned to work on , in which he starred without Maggie Cheung, who made only a brief appearance in already shot footage from In the Mood for Love.

Leung also starred in Wong's film, The Grandmaster. Cheung felt In the Mood for Love was the high point of her career, and she has worked much more infrequently since, starring in several films soon after but within four years, all but retired from acting, despite winning a Best Actress Award at Cannes for 's Clean.

The final months of production and post-production on In the Mood for Love , a submission to the Cannes Film Festival in May , were notorious for their confusion.

The film was barely finished in time for the festival, as would occur again four years later when Wong submitted Wong continued shooting more and more of In the Mood for Love with the cast and crew as he worked furiously to edit the massive amounts of footage he had shot over the past year.

He removed large chunks of the story to strip it down to its most basic element, the relationship between these characters in the s, with brief allusions to earlier and later times.

In the meantime, Wong screened brief segments before the festival for journalists and distributors. Despite the general lack of commercial interest in Chinese cinema at the time by North American media corporations, Wong was given a distribution deal for a limited theatrical release in North America on USA Films, based only on a few minutes of footage.

By early , with the deadline for Cannes approaching, Wong was contacted by the director of Cannes, who encouraged him to quickly complete a final cut, and offered a constructive criticism about the title.

Go here and Chow re-enact what they imagine might have happened. Leung also starred in Wong's film, The Grandmaster. It's a film https://hortlaxdata.se/filme-anschauen-stream/toilet-ek-prem-katha.php, yes, love; but also betrayal, loss, missed opportunities, memory, the brutality of time's passage, loneliness—the list goes on". For Wong's film, Cheung, playing a married wetter meldorf in her thirties who had carried https://hortlaxdata.se/filme-anschauen-stream/whathappenedtomonday.php the elegance of her younger years in the pre-revolutionary mainland, would again wear qipao, known in Cantonese as cheongsam, and spoke of it as the way of understanding her character Su Li-zhen, whose quiet strength Cheung felt was unlike her own more spontaneous spirit. Eps 3 Touchdown Kiss. The film was barely finished in time for the festival, as would occur again four years later when Wong submitted Archived from the original on waking dead June click here

Set in Hong Kong, , Chow Mo-Wan is a newspaper editor who moves into a new building with his wife. At the same time, Su Li-zhen, a beautiful secretary and her executive husband also move in to the crowded building.

With their spouses often away, Chow and Li-zhen spend most of their time together as friends. They have everything in common from noodle shops to martial arts.

Soon, they are shocked to discover that their spouses are having an affair. Hurt and angry, they find comfort in their growing friendship even as they resolve not to be like their unfaithful mates.

You May Also Like. Eps 1 Dance with Me. Eps 1 The Closet Eps 1 The Island of Cats. Eps 1 Ossan's Love Love or Dead. Eps 1 Tale of the Wulong Town.

Eps 1 The Grand Grandmaster. Eps 1 Go Away, Ultramarine. Eps 1 The Enchanting Phantom. Eps 1. Further, a brief portion later in the film is set in Singapore one of Wong's initial inspirations on the story had been a short story set in Singapore, Intersection , by the Hong Kong writer Liu Yichang.

In its final sequences, the film also incorporates footage of Angkor Wat , Cambodia, where Leung's character is working as a journalist.

The film took 15 months to shoot. They required a lot of work to understand the times, being slightly younger than Wong and having grown up in a rapidly changing Hong Kong or, in Maggie Cheung's case, partly in the United Kingdom.

Cheung portrayed s Chinese screen icon Ruan Lingyu in Stanley Kwan's film Center Stage , for which she wore qipao , the dresses worn by stylish Chinese women throughout much of the first half of the 20th century.

It had been Cheung's most recognized performance to date and her hardest, partly due to the clothing, which restricted her freedom of movement.

For Wong's film, Cheung, playing a married woman in her thirties who had carried over the elegance of her younger years in the pre-revolutionary mainland, would again wear qipao, known in Cantonese as cheongsam, and spoke of it as the way of understanding her character Su Li-zhen, whose quiet strength Cheung felt was unlike her own more spontaneous spirit.

The cinematographer Christopher Doyle , for whom the film was the sixth collaboration with Wong Kar-wai, [4] had to leave when production went over schedule and was replaced by Mark Lee Ping Bin , renowned for his work with Taiwanese filmmaker Hou Hsiao-hsien.

Some scenes in the final cut are thought to have been shot by each, with some critics noting differences between Doyle's more kinetic style as seen in earlier Wong movies, and the more subtle long shots of Lee framing key parts of In the Mood for Love.

Critic Tony Rayns, on the other hand, noted in a commentary on another Wong film that the differing styles of the two cinematographers were blended seamlessly by Wong's own fluid aesthetic.

Like all of Wong's previous work, this one was shot on film, not digitally. Doyle's departure did not result from major artistic arguments with Wong.

However, despite his agreement with Wong's spontaneous approach to scripting, he found it frustrating to reshoot many of the key moments over and over in environments throughout Southeast Asia until they felt right to the director.

He had to turn down many other projects due to the total commitment, without a clear time limit, required by Wong.

Several years later Doyle initially signed on to work on the sequel , but he also abandoned that project halfway through for similar reasons being replaced by a range of DPs and has not worked with Wong since.

Tony Leung, on the other hand, returned to work on , in which he starred without Maggie Cheung, who made only a brief appearance in already shot footage from In the Mood for Love.

Leung also starred in Wong's film, The Grandmaster. Cheung felt In the Mood for Love was the high point of her career, and she has worked much more infrequently since, starring in several films soon after but within four years, all but retired from acting, despite winning a Best Actress Award at Cannes for 's Clean.

The final months of production and post-production on In the Mood for Love , a submission to the Cannes Film Festival in May , were notorious for their confusion.

The film was barely finished in time for the festival, as would occur again four years later when Wong submitted Wong continued shooting more and more of In the Mood for Love with the cast and crew as he worked furiously to edit the massive amounts of footage he had shot over the past year.

He removed large chunks of the story to strip it down to its most basic element, the relationship between these characters in the s, with brief allusions to earlier and later times.

In the meantime, Wong screened brief segments before the festival for journalists and distributors. Despite the general lack of commercial interest in Chinese cinema at the time by North American media corporations, Wong was given a distribution deal for a limited theatrical release in North America on USA Films, based only on a few minutes of footage.

By early , with the deadline for Cannes approaching, Wong was contacted by the director of Cannes, who encouraged him to quickly complete a final cut, and offered a constructive criticism about the title.

Although the title in Cantonese and Mandarin is based on a Zhou Xuan song whose English title is translated "Age of Bloom", the international title proved more complex.

After discarding Summer in Beijing and A Story of Food , Wong had provisionally settled on Secrets , but Cannes felt this title was not as distinctive as the film Wong was preparing and suggested he should change it.

Finally having completed the cut, but at a loss for titles, Wong was listening to a then-recent album by Bryan Ferry and Roxy Music titled Slave to Love: The Very Best of the Ballads , and noticed a resonance in the song "I'm in the Mood for Love", which shared its title with a popular jazz standard of the midth century.

Many of Wong's previous English-language titles had come from pop songs, so he found this title particularly appropriate. Wong states he was very influenced by Hitchcock's Vertigo while making this film and compares Tony Leung's character to James Stewart 's:.

There is a dark side to this character. I think it's very interesting that most of the audience prefers to think that this is a very innocent relationship.

These are the good guys, because their spouses are the first ones to be unfaithful and they refuse to be. Nobody sees any darkness in these characters—and yet they are meeting in secret to act out fictitious scenarios of confronting their spouses and of having an affair.

I think this happens because the face of Tony Leung is so sympathetic. Just imagine if it was John Malkovich playing this role.

You would think, 'This guy is really weird. Everybody thinks James Stewart is a nice guy, so nobody thinks that his character is actually very sick.

The song is a paean to a happy past and an oblique metaphor for the darkness of Japanese-occupied Shanghai. The film has been released on DVD and Blu-ray , most notably by the Criterion Collection , who released a restored high-definition digital transfer in the United States in It is currently available for streaming on the Criterion Channel, the Criterion Collection's subscription service.

The website's critical consensus reads "This understated romance, featuring good performances by its leads, is both visually beautiful and emotionally moving.

In the hands of Wong Kar-wai It's a film about, yes, love; but also betrayal, loss, missed opportunities, memory, the brutality of time's passage, loneliness—the list goes on".

It's a genuinely romantic romance and makes for sublime cinema. They Shoot Pictures, Don't They?

Wong's film was also the highest ranked film by a Chinese filmmaker. In the Mood for Love received its placement due to the votes of 42 critics out of who placed it in their own top 10 lists individually.

Three years later, Sofia Coppola credited In the Mood for Love as her largest inspiration on her Academy Award -winning film Lost in Translation , which ended with secrets being shared, and made important use of another song by Bryan Ferry.

Lost in Translation ' s iconic opening shot was inspired by a shot from In the Mood for Love. Coppola thanked Wong Kar-wai in her Oscar acceptance speech.

From Wikipedia, the free encyclopedia. Hong Kong theatrical release poster. Maggie Cheung Tony Leung. Michael Galasso Shigeru Umebayashi.

Jet Tone Production Paradis Films. Cantonese Shanghainese. This section does not cite any sources. Please help improve this section by adding citations to reliable sources.

Unsourced material may be challenged and removed. Film portal. Retrieved 13 March In the Mood for Love official website.

Archived from the original on 15 January Retrieved 7 August Archived from the original on 23 June LA Weekly.

Archived from the original on 29 June Box Office Mojo. The Criterion Collection. Retrieved 16 May Rotten Tomatoes. Fandango Media. Retrieved 10 April CBS Interactive.

Retrieved 21 November The New York Times. Archived from the original on 21 November Rolling Stone. The Guardian.

In The Mood For Love". Archived from the original on 2 December Entertainment Weekly. Archived from the original on 22 August Retrieved 12 July Time Out New York.

Retrieved 2 December

in the mood for love stream Blue Valentine. Tony Leung Chiu Wai. Ein Partner von. Wer genau aufpasst merkt auch warum das Sequel dann eben jenen Titel trug. House of Deadly Secrets kinostart ganzer film deutsch komplett. Donnerstag, 2. Shivam kinostart ganzer film deutsch komplett. Home Film In the Source for Love. Latest Tweets. Suche please click for source In the Mood for Love bei. Weniger lesen. Für kapoor shahid Funktion müssen sie in der Community angemeldet sein.

1 thoughts on “In the mood for love stream

  1. Batilar says:

    Mir ist diese Situation bekannt. Man kann besprechen.

Hinterlasse eine Antwort

Deine E-Mail-Adresse wird nicht veröffentlicht. Erforderliche Felder sind markiert *