Part of Wong Kar-Wai’s informal trilogy, Tony Leung Chiu Wai attempts to come to terms with the loss of Maggie Cheung in his life through his relationships with other women and by writing a science-fiction tale about the titular room. Like the other films, it does not follow a linear narrative which makes for a somewhat convoluted, but richer story. Filmed in equally lush colors and settings, I didn’t quite love it as much as In the Mood for Love, but it provides an intriguing exploration of coming to terms with lost love.  

The joy in French married couple Aïssa Maïga and Lucien Jean-Baptiste’s lives is increased tenfold when they are finally been chosen as adoptive parents for a four month old baby. The big tension comes from the fact that in a rare case, this black couple has been matched with white baby, with family members, social workers, and complete strangers all finding difficulty adjusting to the unusual circumstances. The film pushes hard on this singular premise that keeps from being too gimmicky by the love each parent expresses toward their child. There’s a bit at the end that is quite slapsticky and far-fetched which pulled me from the film, which may just be attempts at a light resolution to some heavy themes. I do absolutely love the set design for the film. I wish I could have such a command of color to recreate some of the vibes in my own home.

Writer turned private investigator Hiroshi Abe struggles equally in his career and his attempts to reconnect with his son and ex-wife. His embarrassing sense of failure leads him to ignore his familial obligations, gambling away every dollar he earns, while passive-aggressively competing with his ex’s current love interest despite his genuine love for his son. As with all the best Hirokazu Kore-eda films, it offers a realistic portrayal of human faults and difficulties in trying to figure out life and love. Abe’s character is not a great person, but he’s also not without virtue.