{"product_id":"in-the-mood-for-love-花様年華-fa-yeung-nin-wa-original-first-japanese-release-chirashi-mini-poster-2001-b5-size-18-25-cm-r13","title":"“In the Mood for Love” (花様年華 \/ Fa Yeung Nin Wa), Original First Japanese Release Chirashi Mini Poster 2001, B5 Size (18 × 25 cm) R13","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003eThis is an \u003cstrong\u003eoriginal Japanese B5 chirashi \/ mini poster produced for the first Japanese theatrical release\u003c\/strong\u003e of Wong Kar-wai’s \u003cem\u003eIn the Mood for Love\u003c\/em\u003e, starring \u003cstrong\u003eMaggie Cheung\u003c\/strong\u003e and \u003cstrong\u003eTony Leung Chiu-wai\u003c\/strong\u003e.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe film opened theatrically in Japan on \u003cstrong\u003e31 March 2001\u003c\/strong\u003e, following its celebrated premiere in competition at Cannes in 2000, where Tony Leung won \u003cstrong\u003eBest Actor\u003c\/strong\u003e and Christopher Doyle, Lee Ping-bin and William Chang received the festival’s \u003cstrong\u003eTechnical Grand Prize\u003c\/strong\u003e for the film’s extraordinary visual achievement.\u003c\/p\u003e\n\u003cp\u003eThis is the \u003cstrong\u003efront half of the original Japanese theatrical chirashi\u003c\/strong\u003e, preserving in miniature one of the most beautiful and instantly recognisable Japanese poster designs of the 2000s. The reverse carries the original Japanese theatrical synopsis, critical notices, production information and contemporary cinema advertising, making this a complete period artifact from the film’s original Japanese campaign. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Japanese campaign transforms \u003cem\u003eIn the Mood for Love\u003c\/em\u003e into an extraordinary study in \u003cstrong\u003escarlet, black and restrained typography\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eA saturated lacquer-red field fills almost the entire composition. Against it, \u003cstrong\u003eMaggie Cheung as Su Li-zhen sits upright in a red cheongsam while Tony Leung's Chow Mo-wan reclines across her legs\u003c\/strong\u003e, creating an image that is simultaneously intimate, elegant and emotionally unresolved.\u003c\/p\u003e\n\u003cp\u003eTheir positioning encapsulates the film itself. They occupy the same physical space and yet appear psychologically separated: Cheung gazes outward while Leung turns inward, his eyes closed. It suggests intimacy without consummation—the tension between desire and restraint that defines Wong's film.\u003c\/p\u003e\n\u003cp\u003eAcross the top appears the beautifully economical Japanese tagline:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e「愛は、もうはじまっている。」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e“Love has already begun.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBelow, the monumental black characters \u003cstrong\u003e「花様年華」\u003c\/strong\u003e dominate the lower half of the composition, accompanied by the English title:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIN THE MOOD FOR LOVE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe enormous typography almost becomes architectural, its uncompromising black forms set directly against the red field. The result is a design of exceptional graphic confidence: essentially \u003cstrong\u003eone photograph, two colours and typography\u003c\/strong\u003e, yet immediately recognisable.\u003c\/p\u003e\n\u003cp\u003eAt B5 scale, the composition takes on the quality of a beautifully produced Japanese graphic-design print. Measuring approximately \u003cstrong\u003e18 × 25 cm\u003c\/strong\u003e, it is considerably easier to frame and display than the corresponding large-format theatrical poster while retaining the complete visual identity of the celebrated Japanese campaign.\u003c\/p\u003e\n\u003cp\u003eThe reverse is equally important historically. It contains the \u003cstrong\u003eoriginal 2001 Japanese promotional text\u003c\/strong\u003e, monochrome film stills, contemporary critical quotations and production information, together with the period roadshow announcement for the film's Japanese theatrical release. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Japanese Chirashi Format\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003echirashi (チラシ)\u003c\/strong\u003e occupies a distinctive place within Japanese film-poster culture.\u003c\/p\u003e\n\u003cp\u003eTypically produced around \u003cstrong\u003eB5 size\u003c\/strong\u003e, these double-sided promotional sheets were distributed through Japanese cinemas to advertise current and forthcoming releases. The front generally reproduced the principal campaign artwork in miniature, while the reverse functioned almost as a miniature press sheet, containing synopsis, credits, reviews, production notes and theatrical information.\u003c\/p\u003e\n\u003cp\u003eFor collectors, this makes original chirashi particularly appealing: they are compact pieces of authentic theatrical ephemera that preserve not merely the artwork but the \u003cstrong\u003ecomplete contemporary Japanese marketing context\u003c\/strong\u003e surrounding a film's release.\u003c\/p\u003e\n\u003cp\u003eThis example is particularly attractive because the front reproduces the celebrated scarlet Japanese \u003cem\u003eIn the Mood for Love\u003c\/em\u003e design virtually without visual compromise, while the reverse survives as an unmistakably period document from its \u003cstrong\u003e2001 first Japanese theatrical campaign\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCult Status \/ Film Notes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFew films released around the turn of the millennium have exerted an influence comparable to \u003cem\u003e\u003cstrong\u003eIn the Mood for Love\u003c\/strong\u003e\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eSet primarily in \u003cstrong\u003eHong Kong in 1962\u003c\/strong\u003e, the film follows neighbours Chow Mo-wan and Su Li-zhen after they discover that their respective spouses are having an affair. Their shared loneliness gradually develops into an intense emotional intimacy, yet both resist simply repeating their partners' betrayal.\u003c\/p\u003e\n\u003cp\u003eWong Kar-wai transforms this deceptively simple premise into a meditation on \u003cstrong\u003ememory, desire, missed opportunity and the passage of time\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIts visual language has become inseparable from its reputation: Christopher Doyle and Lee Ping-bin's cinematography; William Chang's production design, editing and celebrated cheongsam costumes; the recurring strains of Shigeru Umebayashi's \u003cem\u003eYumeji's Theme\u003c\/em\u003e; narrow corridors, mirrors, doorways, smoke and slow motion all create a world in which emotion is expressed as much through colour, architecture and repetition as dialogue.\u003c\/p\u003e\n\u003cp\u003eAt the \u003cstrong\u003e2000 Cannes Film Festival\u003c\/strong\u003e, Tony Leung became the first Hong Kong actor to receive the festival's Best Actor award, while the film also received the \u003cstrong\u003eTechnical Grand Prize\u003c\/strong\u003e recognising Christopher Doyle, Lee Ping-bin and William Chang.\u003c\/p\u003e\n\u003cp\u003eIts stature has only increased since its release. It is now routinely placed among the defining achievements of twenty-first-century cinema and has become a major visual reference point across \u003cstrong\u003ecinema, photography, fashion and graphic design\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe Japanese campaign is especially successful because it distils that entire aesthetic into a single image. The deep red field, Cheung's cheongsam, Leung's reclining figure and enormous black typography feel less like conventional film advertising than a piece of \u003cstrong\u003eearly-2000s editorial or fashion design\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eFor collectors of Wong Kar-wai material, Japanese cinema ephemera or contemporary graphic design, it remains one of the most desirable small-format images from the director's career.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExcellent condition overall.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe scarlet-red field remains beautifully saturated, with strong blacks and excellent definition throughout the central photograph and typography. The sheet retains excellent overall presentation for an original piece of Japanese cinema ephemera now approximately a quarter-century old.\u003c\/p\u003e\n\u003cp\u003eThere is only \u003cstrong\u003eminor age-related handling and very light paper wear\u003c\/strong\u003e, consistent with a chirashi originally intended for free distribution through Japanese cinemas. There are no major defects that detract from the artwork.\u003c\/p\u003e\n\u003cp\u003eThe reverse remains clean and highly legible, preserving the original Japanese promotional copy, film stills, contemporary critical material and theatrical information.\u003c\/p\u003e\n\u003cp\u003ePlease review both images carefully—they show the \u003cstrong\u003eexact original chirashi for sale, front and back\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThis is an \u003cstrong\u003eoriginal Japanese B5 theatrical chirashi \/ mini poster from the 2001 first-release campaign\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIt is \u003cstrong\u003enot a reproduction or a later reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIt measures approximately \u003cstrong\u003e18 × 25 cm (7 × 10 in)\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIt is \u003cstrong\u003eover 25 years old\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCertificate of Authenticity included.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCertificate of Authenticity included.\u003c\/strong\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57185533723002,"sku":null,"price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/In_the_Mood_for_Love_B5_1.jpg?v=1787188810","url":"https:\/\/japanposter.co.uk\/products\/in-the-mood-for-love-%e8%8a%b1%e6%a7%98%e5%b9%b4%e8%8f%af-fa-yeung-nin-wa-original-first-japanese-release-chirashi-mini-poster-2001-b5-size-18-25-cm-r13","provider":"Japan Poster Shop","version":"1.0","type":"link"}