There is a film that lives in the space between a button being undone and a confession being swallowed. That film is Wong Kar-wai’s 2000 masterpiece, In the Mood for Love .
Wong Kar-wai and his cinematographer, Christopher Doyle (along with Mark Lee Ping-bing), break every rule of coverage. They shoot through venetian blinds, behind door frames, under stairwells. They use slow motion so languid it feels like suffocation. The camera is always almost looking away. in the mood for love wong kar-wai