{"id":834,"date":"2024-07-09T08:49:40","date_gmt":"2024-07-09T06:49:40","guid":{"rendered":"https:\/\/archifilm.fr\/wp\/?p=834"},"modified":"2024-07-09T09:21:25","modified_gmt":"2024-07-09T07:21:25","slug":"titre-real-date","status":"publish","type":"post","link":"https:\/\/archifilm.fr\/wp\/?p=834","title":{"rendered":"In The Mood For Love, Wong Kar-Wai, 2000"},"content":{"rendered":"\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><strong>Bande annonce<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-dailymotion wp-block-embed-dailymotion\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"In the Mood for Love (2000) - Bande annonce\" frameborder=\"0\" width=\"950\" height=\"536\" src=\"https:\/\/geo.dailymotion.com\/player.html?video=x7s89zy&#038;\" allowfullscreen allow=\"autoplay; fullscreen; picture-in-picture; web-share\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td class=\"has-text-align-center\" data-align=\"center\"><strong>Mots cl\u00e9s<\/strong><\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">Wong Kar-wai, Tony Leung, Maggie Cheung, drame romantique, Hong Kong<\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">appartement, bureau, h\u00f4tel, voisinage, int\u00e9rieur, ext\u00e9rieur<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>R\u00e9sum\u00e9<\/strong><\/p>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile has-background-background-color has-background\"><figure class=\"wp-block-media-text__media\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"533\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/07\/987a381a0b5735d2737e763bed61bb7cd525488d-1024x533.webp\" alt=\"\" class=\"wp-image-852 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/07\/987a381a0b5735d2737e763bed61bb7cd525488d-1024x533.webp 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/07\/987a381a0b5735d2737e763bed61bb7cd525488d-300x156.webp 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/07\/987a381a0b5735d2737e763bed61bb7cd525488d-150x78.webp 150w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/07\/987a381a0b5735d2737e763bed61bb7cd525488d-jpg.webp 1440w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p><em>(d&rsquo;apr\u00e8s wikip\u00e9dia)<\/em><\/p>\n\n\n\n<p>\u00c0 Hong-Kong, colonie britannique envi\u00e9e par la Chine, en 1962, deux couples emm\u00e9nagent le m\u00eame jour dans une petite pension. Monsieur Chow et sa voisine de palier Madame Chan d\u00e9couvrent bient\u00f4t que leurs conjoints respectifs entretiennent une liaison. Choqu\u00e9s par cette d\u00e9couverte, les \u00e9poux tromp\u00e9s se rapprochent l&rsquo;un de l&rsquo;autre et essayent de comprendre\u2026<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text has-media-on-the-right is-stacked-on-mobile\"><div class=\"wp-block-media-text__content\">\n<p>Bien que la cam\u00e9ra et le d\u00e9cor confinent M.\u00a0Chow et M<sup>me<\/sup>\u00a0Chan dans l&rsquo;espace in\u00e9vitablement \u00e9troit des appartements et des bureaux de Hong Kong, la date de <a href=\"https:\/\/fr.wikipedia.org\/wiki\/1962\">1962<\/a> correspond aux \u00e9meutes foment\u00e9es dans la colonie par la Chine contre les autorit\u00e9s britanniques de tutelle. C&rsquo;est un moment de crise pour le territoire, soumis \u00e0 deux autorit\u00e9s ext\u00e9rieures et qui mettent en question son identit\u00e9 et son devenir.<\/p>\n\n\n\n<p>Le \u00ab\u00a0mood\u00a0\u00bb intime des deux voisins tromp\u00e9s fait \u00e9galement \u00e9cho au \u00ab\u00a0mood\u00a0\u00bb collectif d&rsquo;un peuple qui ne sait ce qu&rsquo;il va devenir.<\/p>\n<\/div><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" width=\"1024\" height=\"580\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/07\/1200x680_in_the_mood_forlove_de_wong_kar_wai_1-1024x580.webp\" alt=\"\" class=\"wp-image-853 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/07\/1200x680_in_the_mood_forlove_de_wong_kar_wai_1-1024x580.webp 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/07\/1200x680_in_the_mood_forlove_de_wong_kar_wai_1-300x170.webp 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/07\/1200x680_in_the_mood_forlove_de_wong_kar_wai_1-150x85.webp 150w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/07\/1200x680_in_the_mood_forlove_de_wong_kar_wai_1-jpg.webp 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><\/div>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile has-background-background-color has-background\"><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" width=\"1024\" height=\"614\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/07\/xBHMYDqdU4fuhPzfNkZ0tBeeoyQ-1024x614.webp\" alt=\"\" class=\"wp-image-854 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/07\/xBHMYDqdU4fuhPzfNkZ0tBeeoyQ-1024x614.webp 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/07\/xBHMYDqdU4fuhPzfNkZ0tBeeoyQ-300x180.webp 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/07\/xBHMYDqdU4fuhPzfNkZ0tBeeoyQ-150x90.webp 150w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/07\/xBHMYDqdU4fuhPzfNkZ0tBeeoyQ-jpg.webp 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p>A la fin du film, l&rsquo;immeuble occup\u00e9 par les deux h\u00e9ros du film a vu ses propri\u00e9taires s&rsquo;exiler aux USA, aux Philippines, etc. L&rsquo;intertitre final du film peut se traduire par : \u00ab Il se souvient de ces ann\u00e9es r\u00e9volues. Il ne cesse d&rsquo;y penser. Comme s&rsquo;il regardait \u00e0 travers une vitre poussi\u00e9reuse, il peut voir le pass\u00e9, mais ne peut le toucher. S&rsquo;il parvenait \u00e0 la briser, il courrait retrouver ces jours anciens.\u00bb<\/p>\n\n\n\n<p>Le r\u00e9alisateur avait deux projets de sc\u00e9narios, l&rsquo;un o\u00f9 les deux personnages devenaient effectivement amants \u00e0 la fin du film et l&rsquo;autre, qui est la version visible, o\u00f9 rien n&rsquo;est dit explicitement. Comme toutes les sc\u00e8nes de fin ont \u00e9t\u00e9 tourn\u00e9es avant les sc\u00e8nes de d\u00e9but, les acteurs ne savaient pas en tournant celles-ci la conclusion qui serait retenue au montage. Ce point augmente donc l&rsquo;ambigu\u00eft\u00e9 de leurs attitudes et les rapproche du monde r\u00e9el o\u00f9 personne ne conna\u00eet son destin avec certitude.<\/p>\n\n\n\n<p><sup><a href=\"https:\/\/fr.wikipedia.org\/wiki\/La_Gar%C3%A7onni%C3%A8re_(film,_1960)#cite_note-Crowe_56-8\"><\/a><\/sup><\/p>\n<\/div><\/div>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Extrait du film <\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"In the Mood for Love - Corridor Glance\" width=\"950\" height=\"534\" src=\"https:\/\/www.youtube.com\/embed\/ypY9OaKCfRU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\"><a href=\"http:\/\/www.archifilm.fr\/wp\/?redirect_to=random\">Consulter une autre fiche tir\u00e9e au hasard<\/a><\/h2>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>_ Bande annonce _ Mots cl\u00e9s Wong Kar-wai, Tony Leung, Maggie Cheung, drame romantique, Hong Kong appartement, bureau, h\u00f4tel, voisinage, int\u00e9rieur, ext\u00e9rieur _ R\u00e9sum\u00e9 (d&rsquo;apr\u00e8s wikip\u00e9dia) \u00c0 Hong-Kong, colonie britannique envi\u00e9e par la Chine, en 1962, deux couples emm\u00e9nagent le m\u00eame jour dans une petite pension. Monsieur Chow et sa voisine de palier Madame Chan &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/archifilm.fr\/wp\/?p=834\" class=\"more-link\">Lire la suite de<span class=\"screen-reader-text\">\u00ab\u00a0In The Mood For Love, Wong Kar-Wai, 2000\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"class_list":["post-834","post","type-post","status-publish","format-standard","hentry","category-ressources"],"featured_media_urls":[],"_links":{"self":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/834","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=834"}],"version-history":[{"count":6,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/834\/revisions"}],"predecessor-version":[{"id":855,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/834\/revisions\/855"}],"wp:attachment":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=834"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=834"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=834"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}