Wong Kar-wai conveys a gloomy and depressing tone through the rich language of his films. The image is low-key, and the color of the picture used is also dark. Although it is a feasting, singing and dancing, the color is bright, but the traces of the director's restraint are obvious. Therefore, what is delivered to the audience is a sense of depression. "" is excellent in the use of light and shade. The contrast between the bright colors under the feasting and the dark mottled dark walls on the dim street corner walls, and the deep tones used to shape the characters all engraved the protagonist's living condition in the environment at the time: the inner loneliness under the lost self. The excellent processing of light and tones adds aesthetic color to the picture of "".
In the composition of the picture, most of the characters and the environment represented in the lens adopt a closed composition. In the hotel where Zhou Muyun lives, the foreground is the sign of the hotel, and the people standing on the roof behind the sign are suppressed to the third part of the picture. In one place, it creates an atmosphere of repression and restraint. Even if Zhou Muyun walks in the deep streets, the director avoids the use of panoramic depth-of-field lenses, and instead uses a large aperture to blur the street scene behind the characters, deepening the sense of crampedness of the picture, and highlighting the loneliness and loneliness deep in the hearts of the characters who have lost their love. Even in relatively empty scenes, the foreground will be deliberately emptied.
In Wong Kar-wai's handling of scene scheduling, the selected scenes also reflect the atmosphere. Characters often move in a crowded and cramped space, including hotels, nightclubs, restaurants, etc. Even after the breakup, Zhou Muyun and Bai Ling still pass by in the aisle that can only pass by one person in the nightclub. This kind of crowded oppression also conveys cramps and tension.
Each character in "" has an extremely distinct personality, but the heart is extremely complicated. In addition, the lines in the play are very restrained, and what the scene expresses directly penetrates into the hearts of the characters. The film uses a lot of facial close-ups and partial close-ups in portraying the characters. Even in the front and back shots, the shoulders of the person in the foreground are deliberately emptied, and the face behind the shoulders is instead directly highlighted. For example, in the scene before Zhou Muyun and Su Lizhen broke up, under the over-the-shoulder shot of a blurred Tony Leung Chiu Wai is a face of Gong Li with moist eyes. For the activities of the characters, a long lens is used to follow the shots to show the integrity of the characters' movements.
"" conveys an ambiguous feeling in this unhurried cramp, and Wong Kar-wai skillfully and skillfully uses the light and shadow, composition, and scene scheduling in the picture to show this implicit emotion.
