Theujork Times recently posted his rank Of the 100 best films from the 21st century ever. While not all were satisfied with the list (partly because the choice were not as international in scope as they could be), it is difficult to argue with each individual film they have chosen. The Rank #4 on the list was "In the Mood for Loveubov", a 2000 romance film directed by Wong Car-Wai.

Sofia Coppola was among the directors who chose "In the Mood for Loveubov" as one of the 10 films in her vote, and the movie's entrance quotes her reasons for it. "It really blasted my mind that you can make movies that way, as a poetic medium that doesn't have to write everything," Coppola wrote. "It felt like something I had not seen before and it was really inspiring to do things that were more impressionist."

It makes sense that Coppola loved this film so much, because her film "Lost in the Translation" of 2003 scratched itching. Both films are for two people who have a clear thing, but who can't (and may not have to) ever become an official couple. Both are quiet, painful films for loneliness and boiling tension, and both will end up on the NYT list of best films. ("Lost in Translation" was ranked 30th and got a shout from Pamela Anderson.)

Coppola is open to ovingub "in the mood for Loveubov" over the years, even Giving a wing cap In his acceptance speech when he won an Oscar for the script. After thanking my friends and family, she thanked "the filmmakers whose films inspired me when I wrote this script: (Michelangelo) Antonion, Wong Kar-Wai, Bob Fose, (Jeanan-Luk) Goddar and everyone else."

As Coppola notes, "in the mood for Loveube" was unique about how little he would write things. The film is about two married people starting an emotional affair after learning that their spouses betray each other, but we never see their spouses. Sometimes you will hear them in the background of the early scene, or you will see the back of their heads, but for the most part the focus is entirely on the main two characters, Joe Mo-Van (Tony Leung) and Su Lee-Henen (Maggie Cheung).

The connection between Mo-Van and Lee-Henen is extremely restrained. They never make a move to each otherHowever, their desire for each other is often huge, and the film quietly makes the case that these two are souls classes whether they recognize it or not.

At first glance, the "lost in the translation" looks less subtle. The specifics of Charlotte's troubled marriage (Scarlett Johansson) are shown quite clearly in the first act, and the relationship with young people she develops with Bob (Bill Murray) is really culminating in the end. The kiss is one of the more controversial parts of the film, mainly because some viewers find it an explicit confirmation that their relationship is romantic or sexual, when they would like to see it purely emotional. Others claim that the kiss is still quite innocent and hardly undermines the rest of the movie Focus on two lonely people who find a much needed pure relationship during a difficult time in their lives.

But since the kiss may have seemed too explicit to some, that last scene appeared and one of the more ambiguous moments in the film: When Bob Whispers something in Charlotte's ear. The film makes a bold choice not to tell us what he is talking about, to allow this intimate moment to be something that only their characters adhere to. In Interview of 2022Coppola offered to take over the last scene, making it clear that she had never written any Murray line in the script and that no real words. As he explained:

"It comes from the tradition of Italian films - they will only say numbers and find out the dialogue later.