Sofia Coppola voted this movie that must be monitored

New York Times recently She released her arrangement Among the 100 best films in the twenty -first century to date. While not everyone was happy with the list (partly because the choices It was not international in the range as it could have been), It is difficult to argue with every individual movie they chose. The 4th rank was in the list “Loew’s Mood”, a 2000 romantic film directed by Wong Cary.

Sofia Coppola was among the film makers who chose “in a mood for love” as one of the ten films in her ballot, and the film entered the list quotes the reasons for its inclusion. “I truly detonated my mind that you can make movies in this way, as a poetic method that should not be spent on everything,” Coppola wrote. “I felt something that I had never seen before and it was really inspiring to make things more impressive.”

It makes sense that Coppola loved this movie a lot, because her 2003 movie “Lost In Translation” scratches similar itching. Both films revolve around two people who are clearly in contact with, but it cannot (and may not have) to become an official couple. Both are calm, painful films about feeling lonely and mysterious tension, and both end in the list of the best NYT movies ever. (Lost In translation “ranked thirtieth, and He received a shout from Pamela Anderson))

Coppola was open to love “in the mood of love” over the years, even Give the suite Kap-juice In her acceptance speech when she won the Academy Award in the scenario. After she thanked her friends and family, she thanked, “Film makers who inspired me their films when I was writing this scenario: (Michael Anglo) Antonioni, Wong Car Way, Bob Fusie, (Jean Locke) Godard, and all others.”

As Coppola notes, it was “in the mood of love” unique in the lack of things. The film revolves around two married people who start an emotional relationship after the discovery of their husbands are cheating with each other, but we never see their cheating husbands. Sometimes, you will hear them in the background of the early scene, or you will see the back of their heads, but most of the time, the focus on the two main people, Chow Mo-Wan (Tony Leung) and Su Li-Zhen (Maggie Cheung).

The relationship between Mo-Wan and Li-Zhen is significantly restricted. they Do not move on each other in realityHowever, their desire in each other is often overwhelming, and the film quietly makes that these two are two colleagues in the soul, whether they recognize it or not.

At first glance, “Lost In translation” looks less accurate. Details of Charlett Johantson are clearly shown in the first chapter, and the emerging relationship with Bob (Bill Murray) culminates in a kiss in the end. The kiss is one of the most controversial parts in the movie, mainly because some viewers see it as a clear confirmation that their relationship was romantic or sexual, when they prefer to see it as purely emotional. Others have argued that the qiblah is still somewhat innocent, and it barely undermined the rest of the movie Focus on two people alone Those who find a pure connection that affects the need during a difficult period in their lives.

But while the qiblah looked very frank for some, this last scene also appeared one of the most mysterious moments in the movie: when Bob shines something in Charlotte’s ear. The film chooses a bold option to not tell us what he says, to allow this intimate moment that the characters only be informed. in 2022 interviewCoppola offered her to take the last scene, explaining that she had never written any line of Mauri in the text program and that he was not whispering any real words on the group. As I explained:

“This came from the tradition of Italian films – they will only say the numbers and discover the dialogue later.