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| Maggie Cheung | ... | Su Li-zhen - Mrs. Chan | |
| Tony Leung Chiu Wai | ... | Chow Mo-wan | |
| Ping Lam Siu | ... | Ah Ping | |
| Tung Cho 'Joe' Cheung | ... | Man living in Mr. Koo's apartment | |
| Rebecca Pan | ... | Mrs. Suen | |
| Kelly Lai Chen | ... | Mr. Ho (as Lai Chen) | |
| Man-Lei Chan | ... | Mr. Koo | |
| Tsi-Ang Chin | ... | Amah | |
| Roy Cheung | ... | Mr. Chan (voice) | |
| Paulyn Sun | ... | Mrs. Chow (voice) | |
| rest of cast listed alphabetically: | |||
| Po-chun Chow | |||
| Kam-wah Koo | |||
| Hsien Yu | |||
| Julien Carbon | ... | French tourist (uncredited) | |
| Laurent Courtiaud | ... | French reporter (uncredited) | |
| Charles de Gaulle | ... | Himself (1966 visit to Cambodia) (archive footage) (uncredited) | |
Directed by | |||
| Kar Wai Wong | |||
Writing credits(in alphabetical order) | ||
| Kar Wai Wong | written by | |
Produced by | |||
| William Chang | .... | associate producer | |
| Ye-cheng Chan | .... | executive producer | |
| Gilles Ciment | .... | co-executive producer | |
| Jacky Pang Yee Wah | .... | associate producer (as Jacky Pang Yee-Wah) | |
| Kar Wai Wong | .... | producer | |
Original Music by | |||
| Michael Galasso | (as Mike Galasso) | ||
| Shigeru Umebayashi | |||
Cinematography by | |||
| Christopher Doyle | |||
| Pin Bing Lee | (as Mark Lee Ping-bin) | ||
Film Editing by | |||
| William Chang | |||
Production Design by | |||
| William Chang | |||
Costume Design by | |||
| William Chang | |||
Second Unit Director or Assistant Director | |||
| Johnnie Kong | .... | first assistant director | |
Art Department | |||
| Ping Lam Siu | .... | property master | |
Other crew | |||
| Tony Rayns | .... | subtitler: english | |
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| Love Actually | 8½ | Strangers on a Train | Butterflies Are Free | The Pillow Book |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Hong Kong section |
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The most attractive factor that lies in this masterpiece of a film is not the beautiful lead actors. It isn't their outstanding acting and sizzling chemistry either.
To me, it is the mis-en-scene of the entire movie. The settings, the lighting, the props... all add to the mood for love between the main characters. A whiff of smoke from Chow's cigarette tells us his state of mind, the ever-changing tight-fitting cheongsams of Lizhen reflects the constraints of decision-making, the ruins of Angkor Wat ties in with the deteriorating relationship of the two leads.
The excellent use of mis-en-scene gives the film just the right amount of feel needed to flesh out the complicated nature of the characters' relationship. The film leaves the audience fruitlessly yearning for more.