Set in a convenience store, this short film was originally intended as the third segment of Wong Kar-wai’s unrealized anthology film Three Stories About Food. It is now considered the prototype for My Blueberry Nights (2007).
Su Li Zhen
Chow Mo Wan
The owner of a convenience store has a hobby of collecting keys left behind by customers - fragments of promises, and the female lead leaves her key there as well. Later, after both of them get into separate fights and end up with nosebleeds, she storms back into the store, only to find that only cakes are left. She starts drinking and eats the cakes one by one, until she passes out drunk in the store. Then he kissed the cake off the corner of her mouth. and she opens her eyes slightly to take a glance. From then on, for many nights, she keeps coming back - sometimes truly drunk, sometimes pretending - letting him wipe the cake from the corner of her mouth. Then one day, she didn’t drink at all but passed out drunk early. When he kisses her as usual, she finally stops hiding her feelings. This short film, when placed alongside In the Mood for Love, presents a stark contrast in emotional expression. In In the Mood for Love, the characters remain separated by a dusty pane of glass - emotionally restrained and distant. But in this alternate world, the male lead is always cleaning every stain, trying to break down the barriers between them. Meanwhile, the female lead acts decisively and directly, just like she devours the cakes - an intersection of appetite and desire - as a way to respond to the hidden emotions between them.
Su Li Zhen
Chow Mo Wan
The owner of a convenience store has a hobby of collecting keys left behind by customers - fragments of promises, and the female lead leaves her key there as well. Later, after both of them get into separate fights and end up with nosebleeds, she storms back into the store, only to find that only cakes are left. She starts drinking and eats the cakes one by one, until she passes out drunk in the store. Then he kissed the cake off the corner of her mouth. and she opens her eyes slightly to take a glance. From then on, for many nights, she keeps coming back - sometimes truly drunk, sometimes pretending - letting him wipe the cake from the corner of her mouth. Then one day, she didn’t drink at all but passed out drunk early. When he kisses her as usual, she finally stops hiding her feelings. This short film, when placed alongside In the Mood for Love, presents a stark contrast in emotional expression. In In the Mood for Love, the characters remain separated by a dusty pane of glass - emotionally restrained and distant. But in this alternate world, the male lead is always cleaning every stain, trying to break down the barriers between them. Meanwhile, the female lead acts decisively and directly, just like she devours the cakes - an intersection of appetite and desire - as a way to respond to the hidden emotions between them.
