People have always been fascinated with cinematography because of its magical power to cast a veil over reality, making them immerse in a thrilling story on the screen. However, one should never forget what an outstanding job is to be done for a spectator’s momentary delight. A single scene can grant a film raving success or destroy its popularity once and for all. The film “In the Mood for Love” appears to be one prolonged frame that never ends. It is like a bizarre hallucinatory dream about love flavored with restraint and oriental eroticism. To expound on the mystery of this dream, one should watch the scene called “Corridor Glance” which conveys the gist of the story. Indeed, the beauty of this film by Wong Kar-Wai lies in the peculiar atmosphere of China in the 1960s. Being ephemeral and yet exquisite like the fragrance of an exotic flower, “In the Mood for Love” gracefully glides along the fine line of vice and virtue, desire and duty, spiritual and sensual. The setting depicts the lack of freedom, crowded conditions, and austerity of life in a communist country. The main characters, Su Li-Zhen and Chow Mo-wan decide to rent rooms in neighboring apartments. Every day resembles the previous one with its dull routine. They both perform repeating actions: wake up in the morning, go to work, interact with colleagues and landlords, and buy noodles in the corner shop. Nevertheless, there is subtle venom of infidelity spreading in the air. One day, suspicion brings protagonists together for them not to seek revenge but to enjoy solace in each other’s company. Trying to sublimate the inner pain main, Su and Chow suddenly fall in love with the melancholy melody by Galasso and entrancing variations by Umebayashi. First, they resist the nascent mutual attraction, being guided by mutual pricks of consciousness. This tension electrifies the frame, filling narrow corridors, dark streets, and messy rooms. This is the mood of love – a dense and burning atmosphere masterfully created by the director. Still, the old tree towering among the walls of Angkor Wat keeps the outcome of the story secret. Admittedly, “Corridor Glance” serves as a key to the riddle of the narration. It is a short scene portraying two lonely people going up and down the concrete ladder at twilight. In the beginning, Su slowly descends the stairs in profound dismay. Then she stands waiting for her noodles inside the shop. After a while, she wearily goes back. She casts a short glance at the person approaching. It turns out to be Chow changing places with her. One has to read between the lines to catch the meaning of the monotonous actions. A specific choice of technical devices is sure to be of great help to go deep into the story. The atmosphere of this scene seems to be dreamy, mantled with dense mist. Mingling shadows, sounds of violin, and the figure of a beautiful woman resembling a Chinese vase stir the spectator’s imagination. According to a recent article, “The entire scene appears in slow-motion, and the lighting is intensely more dramatic than perhaps any other scene in the film up to this point. It takes place at night, so the only light comes from street lamps; overwhelmingly, the world is dominated by shadow” (Jone, para. 3). There is a feeling of a vicious circle of reticence that never ends. The delicate accompaniment deserves special attention because it