In the Mood for Love is a movie perfumed not merely by the noodles and dumplings that feature so prominently, but by the smell of clothes drying out after being caught in the rain. Cinematographer Christopher Doyle and William Chang, the production designer, have created an almost narcotically tactile world of textures and surfaces, lovingly noticed and brilliantly realised. It is a world of crumbling plaster, perspiring wallpaper, of tacky formica restaurant booths, shabby-genteel apartments framed in a shot which can be suddenly bisected by the tatty curtain, flapping in an urban breeze which mirrors the sirocco of suppressed longing. This is the dark and lonely "mood" for love that Wong Kar-wai evokes.