Frederic's faithfulness is tested when Chloe (Zouzou), a sultry lover from his past, returns and involves him in her life, which consists of reckless adventures with men, jobs she can't keep, and a series of shabby apartments.

"Chloe in the Afternoon" is the last of Rohmer's series of six "moral fables," and in the end, of course, Frederic has to decide if he wants to stay faithful to his wife or give in to the temptations of Chloe.

The loveliness of Rohmer's films lies in the acute observation, the light humor, and the mature way in which the characters' problems are handled. The people in these films look a little less glamorous than film stars, but they are much more real, and they're a lot smarter and more articulate, too. When you think about it, it's quite remarkable to watch people talk about love for 90 minutes and never have them utter anything trite, tired, or shop-worn.

Hong Kong Dream Logic
In sharp contrast, the first thing you notice about Wong Kar-Wai's new film is that there isn't much talk, or at least not much meaningful talk, at all. The style of Wong Kar-Wai's "In the Mood for Love" is about as far from Rohmer's wordy, brainy filmmaking as you can imagine.

The film's story is being told through indirection, hints, and feints. Kar-Wai trains the camera on odd details, and often, things happen off screen, unseen. In "Chloe," Frederick's office is equipped with a calendar that dutifully records the march of time. This calendar is oddly mirrored by a clock that reappears in "In the Mood" - but instead of showing the time, the clock indicates the place. "In the Mood for Love" unfolds in its own strange rhythm, a dream logic that is eventually revealed as the logic of memory.

The story, as far as I could tell, is that of a woman and a man (Maggie Cheung and Tony Leung) who discover that their spouses are having an affair. They are neighbors in crammed housing in the Hong Kong of the Sixties with nosy landladies who play Mah-Jongg until the wee hours. In these odd surroundings, filled with high collars, rice makers, and steamy rain, a strange relationship unfolds between the two. Kar-Wai uses the claustrophobic atmosphere to great effect, showing only parts or backs of people and giving us sequences of overcrowded close-ups that only momentarily come up for air as the couple makes it outside to get some soup.