Last spring, filmmaker Andrew Ahn (Wedding Banquet, Spa Night, Fire Island) joined Cooper, Tabitha, and a live audience at PAM-CUT Tomorrow Theater in Portland, Oregon for a deep dive into Wong Kar-wai’s masterpiece In the Mood for Love (2000). We explore the film’s meticulous visual language—from Christopher Doyle and Mark Lee Ping-bin’s luminous cinematography to the precision of William Chang’s production and costume design—and how its framing, repetition, and color palette shape the emotional landscape of repressed desire. Andrew reflects on the film’s lasting influence on contemporary cinema, its dialogue with Hong Kong’s cultural memory, and its influence on generations of filmmakers -- including Andrew himself. 

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