By Owen Glancy Arts & Features Editor Cinema coming out of Hong Kong is some of the most misunderstood, generalized cinema in the medium’s entire history. Ask anyone on the street what they think of when they think of films from Hong Kong and they immediately say “martial arts.” While this isn’t entirely untrue, it’s a gross misunderstanding and generalization of an entire culture's rich cinematic history. Admittedly, I was not helpful in stopping this from happening as about a year ago, I published an article discussing the film “Riki-Oh: The Story of Ricky,” a classic martial arts action film from Hong Kong. By ignoring the wealth of incredible non-action films, we are contributing to the stigma that Hong Kong only makes martial arts films. Just by watching any film by director Wong Kar-Wai, it becomes apparent just how varied the cinema of Hong Kong can be. Of all of Kar-Wai’s phenomenal romantic dramas, “In the Mood for Love” stands out as the greatest. It may be bold to say this, but this is the most romantic film ever made. The intimate blocking of every scene, the tight frame of the camera that seems to get close enough but never too close, and the gorgeous lighting that makes the shades of red the film lives in really pop all contribute to a tense romantic atmosphere. This story of two neighbors who believe their significant others are cheating on them, and as such, form an emotional connection, is incredibly realistic, yet has all of the trappings of a whirlwind romance. The intimate setting only makes the tension at the film’s center more palpable as the two are neighbors in an incredibly small apartment separated only by one wall and door. Even though there is not a single kiss in this entire movie, this small space makes every little action seem that much more meaningful. The rubbing of shoulders in the hallway, the sharing of pots or pans, and the conversations they share with their faces mere inches away as they are crammed into this small space make nearly every scene not just romantic but oddly sexy. Like previously mentioned, there is no kissing scene. There’s no sex, and there’s barely any hugging or physical contact between the leads at all, yet it feels so romantic. And while the cinematography and setting do a lot of heavy lifting in getting this across, the two lead actors bring everything together. Tony Leung and Maggie Cheung absolutely kill it, and they carry the entire film on their backs. Their characters are the only ones with any real development or focus, so if their performances were lacking in any aspect, the film would not have worked. But they never lacked, and the film is phenomenal. Leung perfectly encapsulates Chow Mo Wan’s desire for a life he doesn’t have, to chase dreams he thought he left behind him. Mo Wan feels enabled and empowered by his new, slightly promiscuous, relationship with Su Li Zhen (Cheung). Similarly to Mo Wan, Li Zhen has lived a life of disillusionment. Her husband is relatively wealthy, but they still live in a cramped apartment in Hong Kong. This marriage is fresh, yet her husband is never home, always off on business trips to Japan. She is disillusioned, but not with her career but rather her romance. She feels as if Mo Wan could be the person who could finally give her that love she had been missing from her life. “In the Mood for Love” is not like most other romance films. There’s not kissing underneath the stars. There’s no romantic rival competing with the main character. There’s no grand promises of marriage or love. There’s only two people who both want to love, but have been hurt by the thorns that come along with it. Love is not easy, and it never will be, and this film is the perfect encapsulation of what romance is like in the real world. When wrapped in such a beautiful package, and delivered by such genuine performers, you too will be “In the Mood for Love.” You can find “In the Mood for Love” streaming on Max or The Criterion Channel.