The two of them wait for the rain to pass together, since Su Li-zhen does not want to take Chow Mo-wan’s umbrella, fearing that the neighbors will realize they were together. When the rain stops, she asks him to part ways, since her husband has returned. He agrees.
Both of the cinematographers, Christopher Doyle and Mark Lee Ping-bin, present shots that appear as if the camera is peeking in on the action while it frequently moves in slow motion. This tactic finds its apogee in this scene, as the protagonists are being watched initially from behind a corner and then from a barred window. Furthermore, when he touches her hands, his move is presented in slow motion.
In another cinematic tactic, the scene is not presented in chronological order, with the most important moments inserted randomly in the timeline, as is the case with Li-zhen’s crying and her exit.
Maggie Cheung‘s performance and style also reach their apogee in this scene, with her looking gorgeous in her Mandarin dress as she eventually bursts into tears, despite her efforts to appear strong and detached.
