This review contains heavy spoilers for The Drama. Kristoff Borgli’s The Drama is one of those rare films I was glad to see in theatres––at 7:15 PM on Thursday with my designated romcom buddy, to be precise. I think the individual is meant to dramatize its viewing: to perk up at that first bizarre trailer, generate intrigue with friends in the before and after, and sit through the palpable unease undercutting the theatre’s laughing, gasping, and whispering. It’s less a story

Tony Leung and Maggie Cheung’s characters in the acclaimed masterpiece In the Mood for Love are exemplary psychoanalytic patients. The piece aims to introduce a socio-historical and neuroscientific account of how Wong Kar-Wai’s two homes, Shanghai and Hong Kong, can create—to infinity—a self-sabotaging subject who interacts with others through obfuscation and desires through frustration.