Wednesday, September 6, 2023

U.S.'s Mental Health Getting Worse

 


America Has Reached Peak Therapy. Why Is Our Mental Health Getting Worse?
America Has Reached Peak Therapy. Why Is Our Mental Health Getting Worse?






Illustration by Katie Kalupson for TIME

The U.S. has reached peak therapy. Counseling has become fodder for hit books, podcasts, and movies. Professional athletes, celebrities, and politicians routinely go public with their mental health struggles. And everyone is talking—correctly or not—in the language of therapy, peppering conversations with references to gaslighting, toxic people, and boundaries.

All this mainstream awareness is reflected in the data too: by the latest federal estimates, about one in eight U.S. adults now takes an antidepressant and one in five has recently received some kind of mental-health care, an increase of almost 15 million people in treatment since 2002. Even in the recent past—from 2019 to 2022—use of mental-health services jumped by almost 40% among millions of U.S. adults with commercial insurance, according to a recent study in JAMA Health Forum.



But something isn’t adding up. Even as more people flock to therapy, U.S. mental health is getting worse by multiple metrics. Suicide rates have risen by about 30% since 2000. Almost a third of U.S. adults now report symptoms of either depression or anxiety, roughly three times as many as in 2019, and about one in 25 adults has a serious mental illness like bipolar disorder or schizophrenia. As of late 2022, just 31% of U.S. adults considered their mental health “excellent,” down from 43% two decades earlier.

 

Trends are going in the wrong direction, even as more people seek care. “That’s not true for cancer [survival], it’s not true for heart disease [survival], it’s not true for diabetes [diagnosis], or almost any other area of medicine,” says Dr. Thomas Insel, the psychiatrist who ran the National Institute of Mental Health (NIMH) from 2002 to 2015 and author of Healing: Our Path from Mental Illness to Mental Health. “How do you explain that disconnect?”

Dr. Robert Trestman, chair of the American Psychiatric Association’s (APA) Council on Healthcare Systems and Financing, says there are multiple factors at play, some positive and some negative. On the positive side, more people are comfortable seeking care as mental health goes mainstream and becomes less-stigmatized, increasing the total number of people getting diagnosed with and treated for mental-health issues.

Less positively, Trestman says, more people seem to be struggling in the wake of societal disruptions like the pandemic and the Great Recession, driving up demand on an already-taxed system such that some people can't get the support they want or need.

Some experts, however, believe the issue goes deeper than inadequate access, down to the very foundations of modern psychiatry. As they see it, the issue isn’t only that demand is outpacing supply; it’s that the supply was never very good to begin with, leaning on therapies and medications that only skim the surface of a vast ocean of need.


What's really in a diagnosis

In most medical specialties, doctors use objective data to make their diagnoses and treatment plans. If your blood pressure is high, you’ll get a hypertension drug; if cancerous cells turn up in your biopsy, you might start chemotherapy.

Psychiatry doesn’t have such cut-and-dry metrics, though not for lack of trying. Under Insel, numerous NIMH research projects aimed to find genetic or biological underpinnings of mental illness, without much payoff. Some conditions, like schizophrenia, have clearer links to genes than others. But by and large, Insel says, “we don’t have biomarkers. We don’t have a lot of things that you would have in other parts of medicine.”

What psychiatry has is its Bible, the Diagnostic and Statistical Manual of Mental Disorders (DSM). The DSM sets diagnostic criteria for mental-health conditions largely based on symptoms: what they look like, how long they last, how disruptive they are. Relative to other medical fields, this is a fairly subjective approach. It’s essentially up to each clinician to decide, based on what they observe and their patient tells them, whether symptoms have crossed the line from normal to disorder—and this process is increasingly occurring during brief appointments on teletherapy apps, where things can easily slip through the cracks.

Dr. Paul Minot, whose nearly four decades as a psychiatrist do not stop him from vocally critiquing the field, feels his industry is too quick to gloss over the "ambiguity" of mental health, presenting diagnoses as certain when in fact there's gray area. Indeed, research suggests both misdiagnosis and overdiagnosis are common in psychiatry. One 2019 study even concluded that the criteria underlying psychiatric diagnoses are “scientifically meaningless” due to their inconsistent metrics, overlapping symptoms, and limited scope. That's a sobering conclusion, because diagnosis largely determines treatment.

“If I’m giving you an antibiotic but you have a viral infection, it’s not going to do anything,” Trestman says. Similarly, an antidepressant may not work well for someone who actually has bipolar disorder, which can be mistaken for depression. This imperfect diagnostic system may help explain why, even though antidepressants are one of the most-prescribed drug classes in the U.S., they don’t always yield great results for the people who take them.

Joseph Mancuso, a 35-year-old DJ, music producer, and content creator in Texas who uses the stage name Joman, has been in and out of the mental-health care system since he was a teenager. Over the years, he’s received a range of diagnoses, including depression and bipolar disorder, that he says never felt quite accurate to him. (More recently, he received a diagnosis that felt right: complex post-traumatic stress disorder.) These diagnoses led to numerous prescriptions, some of which helped and many of which didn’t. “I felt at times that I was just a dartboard and they were just throwing darts and seeing what would stick,” he says.

Some treatments don’t seem to stick regardless of whether a patient was properly diagnosed. In a 2019 review article, researchers re-analyzed data used to assess the efficacy of supposedly research-backed mental-health treatments. Some methods—like exposure therapy, through which people with phobias are systematically exposed to their triggers until they’re desensitized to them—came out looking good. But a full half of the therapies did not have credible evidence to back them, the authors found.

“It’s not the case that, holy shit, therapy just doesn’t work at all,” says co-author Alex Williams, who directs the psychology program at the University of Kansas. But Williams says the results inspired him to make some changes in his practice, leaning more heavily on therapeutic styles with the best data behind them.


Over-medicated...and over-therapized?

Even styles of therapy with solid evidence behind them can vary in efficacy depending on the clinician at the reins. One of the best predictors of success in therapy, research has shown, is the relationship between patient and provider—which may explain why it can feel like a crapshoot, with some people leaving their sessions feeling enlightened and empowered and others feeling the same as when they walked in.

The latter scenario was the case for “Shorty,” a 31-year-old from North Carolina who asked to be identified by his nickname to preserve his privacy. Shorty became disillusioned with therapy after trying it while struggling with substance abuse in college. “We just talked,” he says, “but we [weren’t] really solving anything. I was just paying this dude money.”

Some people may indeed benefit from therapy, Shorty says. But it annoys him that the practice is sometimes seen as an automatic fix for life’s problems when both anecdotal evidence and scientific data suggest it doesn’t work for everyone. The APA says about 75% of people who try psychotherapy see some benefit from it—but not everyone does, and a small portion may even experience negative effects, studies suggest. Those who improve may need 20 sessions before they have a breakthrough.

Given the significant investment of time, money, and energy that may be required for therapy to succeed, it’s perhaps unsurprising that medication, which is by contrast a quicker fix, is so popular. As of 2020, about 16% of U.S. adults had taken some kind of psychiatric drug in the past year. Within that class, antidepressants are the most commonly used.

There certainly are people who report that their symptoms improve or disappear after taking an antidepressant, and research suggests they are particularly effective for people with severe depression. People with anxiety and other conditions may also benefit from their use, according to the National Library of Medicine. But the data on antidepressants aren’t as solid as one might expect for one of the most widely used drug classes on the market.

In the early 2000s, the NIMH ran a large, multi-stage trial meant to compare different antidepressants head-to-head, in hopes of determining whether some worked better than others across the board or in specific groups of patients. Instead, Insel says, “what we came out with was the evidence that, actually, none of them are very good. It was really striking how poorly all of the antidepressants performed across the entire population.” Most people had to try multiple drugs, or take multiple at once, to go into remission, and about 30% of people in the trial never saw complete relief. Lots of people also dropped out before the study ended.

In the years since, studies have reached lukewarm findings about antidepressants. A 2018 meta-analysis of data from 522 trials found that all of the 21 analyzed drugs worked better than placebos—but their benefits were “mostly modest.” A 2019 review went further, concluding that antidepressants' effects are “minimal and possibly without any importance to the average patient with major depressive disorder.”

Dr. Joanna Moncrieff—a founding member of the Critical Psychiatry Network, a group for psychiatrists who are skeptical of the mental-health establishment—believes that’s because some antidepressants don't work the way they're advertised. For decades, researchers theorized that depression stems from a shortage of mood-regulating neurotransmitters, particularly serotonin, in the brain. Blockbuster antidepressants like Prozac, which hit the U.S. market in the 1980s, are meant to boost those serotonin levels.

But Moncrieff’s research, as well as other scientists’ work, suggests that depression isn’t caused by low serotonin levels, at least not entirely. And if serotonin isn’t the main problem, Moncrieff says, taking these drugs is “not correcting a chemical imbalance. It is creating a chemical imbalance.”

So why do some people feel better after taking antidepressants? They clearly have some effect on the brain, potentially improving mood, but Moncrieff isn’t convinced they’re really treating the root cause of depression. To do that, she believes, clinicians need to help people solve problems in their lives, rather than simply prescribing a pill.

“Lots of people would disagree with that,” Moncrieff admits. But studies, including the 2019 research review on psychiatric treatments, do show that “problem-solving therapy,” a modality that teaches people how to manage stressors, can work.

The antidepressant drug Prozac is pictured in a Cambridge, Ma., pharmacy on March 9, 2006.   (JB Reed/Bloomberg—Getty Images)
The antidepressant drug Prozac is pictured in a Cambridge, Ma., pharmacy on March 9, 2006. 
JB Reed/Bloomberg—Getty Images

That’s the approach taken by Minot, who believes psychiatry is too quick to label feelings like sadness and worry as symptoms rather than helping people understand where they come from, what they mean, and how to overcome and even grow from them. In some cases, he says, feeling bad can motivate people to change problematic habits, choices, or relationships.

Not everyone is convinced by this argument. Sadness may be part of life, but Insel says that’s an entirely different beast than depression, which can manifest more like feeling “dead” and may have no clear link to what’s going on in someone’s life. “People who think that’s just on the continuum of the human experience…have never met anybody who’s truly depressed,” he says.

Minot agrees that severe depression, as well as serious mental illnesses like schizophrenia and bipolar disorder, may require pharmaceutical treatment. Overall, though, he feels psychiatry leans on medications so it doesn’t have to do the more difficult work of helping people understand and fix life circumstances, habits, and behaviors that contribute to their problems.“If you can sell people Band-Aids,” Minot asks, “why bother curing them?”

Dr. Edmund Higgins, an affiliate associate professor of psychiatry at the Medical University of South Carolina, has grappled with this tension in his own work with incarcerated people—many of whom, he says, would benefit from therapy. But without the time and resources to do that long-term work, he’s mostly limited to writing prescriptions. “You can put them on medicines and they’ll have some improvement,” in some cases more than others, Higgins says. “But guess what? They’re still anxious and depressed.”

There are a couple reasons for that, Higgins says. One is that changing the brain can be difficult, and currently available treatments aren't always up to the task. Another is that “so much of our mood and [mental health] is situational.”

A medication might help with symptoms, but it can’t overcome the basic facts of someone’s life, whether they’re incarcerated, going through a divorce, being bullied at school, dealing with discrimination, or struggling with loneliness. Nor can a pill change the fact that we live in a bitterly divided country where gun violence is common, the effects of climate change are obvious, more than 10% of the population lives in poverty, bigotry persists, COVID-19 is still spreading, and the legal system is rolling back rights.

“A lot of people are suffering from material conditions and [are] having a reasonable, rational human response to suffering,” says Mancuso, the musician from Texas. But in his experience, the psychiatric system doesn’t always acknowledge the range of factors that can influence mental health—from personal trauma all the way up to the geopolitical climate—and instead seems more focused on getting people diagnosed, medicated, and out the door.

Mancuso points to a sentiment expressed by the philosopher Jiddu Krishnamurti: “It is no measure of health to be well-adjusted to a profoundly sick society.”


Beyond the couch

Improving mental health at scale, Insel agrees, requires the system to look beyond the therapist’s couch. (Insel co-founded a startup focused on community-based behavioral care.) Seemingly non-medical solutions—like improving access to affordable housing, education, and job training; building out community spaces and peer support programs; and increasing the availability of fresh food and green space—can have profound effects on well-being, as can simple tools like mindfulness and movement.

“That’s not the way we roll in health care,” Insel says, but that's incrementally changing. California, for example, has made efforts to broaden what qualifies as health care, and the federal government is funding an expansion of the country’s network of Certified Community Behavioral Health Clinics, which provide a range of behavioral and physical health services.

Nonetheless, policy solutions are complex, slow-moving, and not guaranteed to take effect—particularly in a bitterly divided political system. So in the meantime, expanding access to mental-health care is important, the APA’s Trestman maintains. A system that is short an estimated 8,000 providers is never going to do its job perfectly, particularly when the existing network is concentrated in certain geographic areas, does not reflect the diversity of the U.S. population, and is financially out of reach for many people.

To make the biggest dent in rates of mental illness, Insel says the system needs to focus on adding resources in the right places. Teletherapy has grown enormously since the pandemic, which is important but has limitations. Many teletherapy apps meet demand by expecting clinicians to take on a huge quantity of short appointments, TIME’s previous reporting has found, which makes it difficult for providers to diagnose accurately, establish a rapport with patients, and provide holistic care.

Plus, it’s not clear that online services adequately serve people “in the deep end of the pool,” Insel says. Patients with severe psychiatric diagnoses often need specialized care that can’t be effectively offered through a mass-market app, and may not have the resources to access these services anyway. Brick-and-mortar, community-based care still plays an important role for people with serious mental illness, Insel says.

Focusing on quality, not just quantity, of care is also important, Trestman says. To the extent that people receiving mental health care are measured, these metrics usually focus on process—how long they’ve been seen, whether they schedule follow-up appointments—rather than whether their condition is improving, Trestman says. Research suggests fewer than 20% of mental-health clinicians measure changes in symptoms over time.

“What really matters is, is someone getting better? Are they able to return to work? Are they able to care for their family? Are they able to start planning for their future?” Trestman says. “Those are the key issues that we’re talking about, and those are just not measured in any consistent way.”

In his own practice, Trestman asks patients to define their priorities and what successful treatment means to them. These data may not be as objective as a blood test, but they build in some of the accountability Trestman feels is often lacking.

Patients like Mancuso are hungry for an approach that goes even further—one that recognizes the influence of the world beyond their therapist’s door and focuses not on medication, but on real-world improvement and understanding. That kind of care isn’t always the default of a for-profit system struggling to meet demand. But Mancuso believes it’s what’s necessary to see improvements in mental health at both a national and personal level.

“I had a rough upbringing. I had a lot of people take advantage of me. I was bullied really badly in school,” Mancuso says. “I needed more than pills. I needed guidance.”

Wong Kar Wai’s “In the Mood for Love”

 


https://www.newyorker.com/culture/touchstones/wong-kar-wais-in-the-mood-for-love?utm_source=nl&utm_brand=tny&utm_mailing=TNY_Fiction_090223&utm_campaign=aud-dev&utm_medium=email&bxid=630de66c203059c3580154ca&cndid=70710298&hasha=551c37974dfebd5e2b0fa3e6a8733435&hashb=5a215e847b8f37515c1083d8def6262bb7431858&hashc=4410bb874c8ac507e87c3b923f198f5016bb851a5f736770abc0caec342b90df&esrc=NL_page&mbid=mbid%3DCRMNYR012019&utm_term=TNY_Fiction

Wong Kar Wai’s 2000 masterwork has influenced filmmakers ranging from Barry Jenkins to Sofia Coppola—and innumerable teens on TikTok.

Touchstones

Wong Kar Wai’s“In the
Mood for
Love”

Wong Kar Wai’s 2000 masterwork has influenced filmmakers ranging from Barry Jenkins to Sofia Coppola—and innumerable teens on TikTok.

There is a particular aesthetic floating abroad in the world. You could call it an atmosphere, a vibe, or just an essence of style. It’s made up of a collection of ingredients: humid alleyways in dense cities, neon lights cutting through darkness, quietly flashy fashion, nostalgic music, tragic romanticism, and the smoke of many, many cigarettes. It evokes glamour with a streak of grittiness, and the feeling of being adrift. It partakes of Golden Age Hollywood but is more international, modern, and self-aware.

You can spot it across popular culture: it informed one of the most distinctive settings in the multiverse of “Everything Everywhere All at Once

and, before that, Barry Jenkins’s “Moonlight,” Sofia Coppola’s “Lost in Translation,” and Joe Barton’s ambitious crime series “Giri/Haji.”

It also provided interior-design inspiration for the lambent Brooklyn bar Mood Ring, a reference point for Marc Jacobs’s Heaven brand, and the template for hundreds of thousands of selfies, Instagram posts, and TikTok videos in which young people cast their own lives in its melodramatic sensibility.

The source of this style is the Hong Kong auteur Wong Kar Wai—specifically, his masterwork “In the Mood for Love,” released in 2000. As a Mark Rothko color-field painting was to the fifties, “In the Mood for Love” may be to the early two-thousands: an art work emblematic of the era that encodes a universal, ambivalent feeling. The film is a ninety-minute mood piece in which a barely spoken plot is less important than the weaving together of fashion, music, color, light, and form—a feat cinema can achieve better than any other medium.

Set in British Hong Kong, in 1962, it follows Chow Mo-wan (Tony Leung), a newspaper journalist, and Su Li-zhen (Maggie Cheung), a secretary at an import-export office.

The pair live in adjacent apartments in a crowded building, where they gradually realize that their respective spouses are having an affair and attempt to figure out how it happened, only to become entangled themselves. Wong has described the film as “two people dancing together slowly.”

“In the Mood for Love” is the kind of singular art work that stands in as a shorthand for one’s personal taste. If you know, you know. Wong created a cocktail of French New Wave filmmaking, American hardboiled mystery, Chinese modernist literature, and the geopolitics of his own Hong Kong-via-Shanghai upbringing, then channelled those disparate influences into the mundane, domestic story of two not-quite-lovers. The combination is both unprecedented and somehow familiar upon watching, like a forgotten memory. The clarity of vision leaves an indelible mark on the viewer, and the film’s suitability for selfies makes sense; one wants to inhabit it, to take the places of its beautiful protagonists. But I first encountered “In the Mood for Love” as a teen-ager in the least glamorous of circumstances: a glaringly lit Blockbuster in suburban Connecticut in 2002, not long after it was released in the United States. Drawn in by its evocative title and cover on the foreign-films shelf, I snuck it into a pile of family rentals and watched it at home alone one night, entranced. I didn’t know what an “art film” was, but I aspired to the greater depth of feeling it seemed to promise.

Over countless rewatches in the decades since, I came to realize that my younger self hadn’t grasped the full picture. What makes the film enduring is not so much the romance as the shadow that lies behind it.

A woman holds a glass
Poster for “In the Mood for Love.” Photograph courtesy Janus Films

Perhaps the aesthetic of “In the Mood for Love” is so immersive because it is so personal. In 1963, with the Cultural Revolution looming, Wong’s family left his native Shanghai for Hong Kong. There, he grew up in an international, polyglot milieu of British colonialists, Cantonese-speaking locals, and immigrants from across Asia. The language barrier isolated Wong from other children—he was five years old when they arrived, and spoke neither English nor Cantonese—and his youth was defined by moviegoing with his mother. The ritual instilled a love of cinema and fluency in its tropes. By the late eighties, he was making his own films—and amassing a cast of collaborators that continued through “In the Mood for Love,” including Cheung, Leung, and the Australian cinematographer Christopher Doyle, who helped form his frenetic yet elegant visual style.

A man in motion
Stills from Wong’s “Chungking Express,” 1994.Photographs courtesy Janus Films
A seated woman and man bathed in red light
Two figures run on a dark surface
A man and a woman with their lips close together
Stills from Wong’s “Days of Being Wild,” 1990.Photographs courtesy Janus Films

Wong’s movies offered a departure from the self-serious grandeur of such Chinese directors as Zhang Yimou and Chen Kaige, who had begun to carve out international reputations with their epic dramas. He also cleared a path for more casual, intimate, and atmospheric directors after him, including Jia Zhangke, whose protagonists are similarly lost in the churn of China’s transformation. Wong punctured the dominant historical nostalgia with Hitchcockian psychological suspense and a Godard-esque embrace of youth culture and improvisation. (The apartment complex from “In the Mood for Love,” in particular, owes a debt to the architectural claustrophobia of “Rear Window.”) That is not to say he ignored predecessors from closer to home. One source for “In the Mood for Love” is the Chinese masterpiece “Spring in a Small Town”—an austere 1948 film by Fei Mu, little known in the West—which also circles around straying lovers trapped in their circumstances, with a looping narrative and intimate cinematography. Wong’s magic touch is making everything onscreen feel new, as if it is happening for the first time, no matter when it is set.

A woman rests her head on a man's shoulder
A man putting his arm around a woman
Still from “Spring in a Small Town.”Photograph from Alamy
A woman seen through a window
A party seen through a window
Still from “Rear Window,” 1954.

The instantly recognizable soundtrack of “In the Mood for Love” is also rooted in Wong’s history. Many of the songs are artifacts from mid-century Hong Kong. The city’s night-club-music industry was dominated by Filipinos who often sang in Spanish—hence Wong’s otherwise jarring inclusion of Nat King Cole singing Spanish-language standards like “Quizas, Quizas, Quizas” from a 1958 album. Cole’s butchered Anglophone pronunciation of Spanish gives the songs an odd, unforgettable poignancy: love as a mistranslation. The director adopted a lilting, mournful string arrangement from the 1991 Japanese film “Yumeji” to act as a chorus or even another character; it appears nine separate times as Chow and Su negotiate their relationship. Wong has said that the music “is a poem itself.”

For all its looseness, “In the Mood for Love” was an elaborate production. It lasted fifteen months, evolving from a short sketch about food into an intimate drama. Investors dropped out and had to be replaced during the Asian financial crisis of 1997. Doyle moved on to another project when shooting went over schedule; he was replaced by Mark Lee Ping-bing, whose more placid style slowed the film’s pace. “It was supposed to be a quick lunch, and then it became a big feast,” Wong said.

Two men standing
The director Wong Kar Wai and the cinematographer Christopher Doyle on set, 2000. Photograph from Miramax / Everett

The construction of “In the Mood for Love” is symphonic. Each of its elements—image, sound, dialogue—contributes to a greater, cohesive whole.

Even the actors are just one part of the over-all collage, navigating spaces and tableaux of objects that feel laden with symbolism in the manner of a Magritte still-life.

Chow and Su are constantly trying to reach their spouses and each other through heavy wired telephones, which quickly become a conduit for miscommunication and deception. Su’s boss instructs her to lie about his whereabouts on calls from both his wife and his mistress.

The camera often pans to the obdurate face of an office clock, showing time frozen but also inexorably passing—the burning fuse of Chow and Su’s relationship.

Cigarettes, too, recur. When Chow lights one, the smoke tendrils swirl upward like the churning of his mind, impossible to put into words.

The physical world seems to intrude on the main characters and entrap them. Throughout, walls, doors, windows, and mirrors split the frame—and hide Chow and Su’s spouses, whose faces are never seen.

In one particularly complex shot, we see Su entering through her office door, employees working behind a window, and her boss behind another glass partition.

Each figure is enclosed in their own box of space. The effect is deliberately voyeuristic. “We always want to keep the audience as one of the neighbors,” Wong said.

As Su’s landlady observes, Chow and Su don’t hide their gossip-inducing interactions perfectly; there is a hint of exhibitionism in their performance.

In fact, who could fail to notice these two heartbreakers? The protagonists’ wardrobes, too, are unignorable. Su’s succession of qipao, sheathlike traditional Chinese dresses, have become famous for their sheer ostentation, each pattern more striking than the last. But Chow’s suits and rumpled white-collared shirts are just as remarkable for their sprezzatura. The almost comical extremity of the fashion is a hint that something else is going on beneath the aestheticized surface.

Two women talking
A man in a suit looking down
A woman in a bright green dress
A man rests after eating
A woman smiling

At first, I would rewatch “In the Mood for Love” just to luxuriate in its ambience: the vibe is compelling enough. But my reading of the film’s details changed as I got older. I returned to it in the giddy swing of crushes and then in the hungover aftermath of breakups—it serves equally well for both—including an almost-relationship that bore some resemblance to Wong’s story. With experience, an edge of irony crept into my interpretation. It is the belief of a teen-ager that love is wholly grand and tragic, that the barrier to happiness is the circumstance keeping fated lovers apart. If only Chow and Su could meet outside their deceitful partners and watchful neighbors! But we have a tendency to cause our own problems in love, sometimes by accident and sometimes out of a subconscious desire for the problem itself. In the course of the film, Chow and Su chase and miss each other so frequently that the pursuit becomes an existential joke. Su declines to flee with Chow to Singapore, then appears there, steals into his apartment (a Wong Kar Wai trope), and calls him at his office, only to hang up without a word. Chow returns to the building where they met but doesn’t inquire deeply enough to learn that Su has moved back in. Rather than seeking to dispel ambiguity, they embrace it.

A man stands under a street light
A woman stands under a street light
A man looks out a window
A woman stands and holds a glass
A woman talks to a man at the end of a hallway
A man walks down a hallway

Revisiting the film in 2023, one could diagnose the pair with “main-character syndrome,” Internet slang for someone acting like they’re the star of the movie of their life. Initially, the protagonists’ conduct seems apt—then side characters call attention to their dramatic tendencies. At one point, a neighbor observes the absurd intricacy of Su’s qipao outfits: “She dresses up like that to go out for noodles?”

Chow’s dreamy romanticism is also tempered by his friend Ah Ping, an avuncular deadbeat whose suggested cure for lovesickness is to go to a brothel. When Chow monologues about keeping secrets by whispering them into trees, Ah Ping is perplexed: “I’m just an average guy. I don’t have secrets like you. You bottle things up!”

These scenes cast the would-be couple in a new light, not as victims of circumstance but as players in their own game. The film’s impossible sumptuousness is meant to be just that—impossible. Wishing that the two of them ended up together means missing the poetry of the dance.

Shorn somewhat of its subtlety and often not directly citing its source, the “In the Mood for Love” aesthetic is easily spotted online across platforms like Tumblr, Instagram, and TikTok. Users collect screenshots of Maggie Cheung as Su in her resplendent dresses and share gifs of the pair crossing on the stairs of the noodle shop they frequent. Such is the film’s strength that any single image is synecdochic for its atmosphere. As one meme-like TikTok puts it, above a clip of Chow smoking and grimacing, “bro you’re not a heartbroken journalist in 60s Hong Kong.” The video has more than three hundred thousand likes; one commenter responded, “actually i am.” The implication is that “In the Mood for Love” makes the viewer feel like she could be Chow—the environment of mid-century Hong Kong might be wholly unfamiliar, but the emotion is utterly recognizable.

Some fans take the identification further, using our era’s convenient smartphone cameras and video-editing apps to cast themselves in the world of the film. TikTok is home to a showcase of Wong Kar Wai replicas and tutorials for how to achieve the same effect, whether in flash-heavy restaurant selfies or elaborate cinematic videos. One clip shows its creator, Mike Quyen, in a heavy camel-hair coat, slim black suit, and pristine white shirt as he smokes, makes a call in a telephone booth, and hunches over a desk—a perfect avatar of Tony Leung, albeit removed from any larger plot. The movie’s slow panning shots, acidic color grading, and aggressive chiaroscuro form an interactive filter that anyone can adopt.

Another commandment of TikTok culture is to “romanticize your life”: shoot the best parts of reality as a shareable mood board and saturate the ordinary with as much feeling as possible. Of course, that’s what “In the Mood for Love” already did. Adopting the style allows fans, especially younger ones, to elevate their own existence.

Hence my attraction to “In the Mood for Love” as a suburban teen-ager: I wanted to be the main character in my own life, too. The film illustrated my concept of adulthood, a then far-off realm.

I still think of Chow every time I smoke a cigarette.

But now I see the movie more as a document of midlife crisis, of the manifold paths people can take together and apart. The characters are flawed and confused.

They may not make the choices that lead them to happiness. But who’s to say that happiness lies in clarity instead of ambiguity?

Life is not made up of cleanly drawn narratives, and the film’s recognition of that fact—and of the attendant pleasures—may be what makes it great.

In its final minutes, Chow makes good on his earlier monologue and whispers unheard secrets into a hole in the stones of Angkor’s ruins in Cambodia.

Maybe he’s saying goodbye to the relationship with Su or leaving that part of himself behind, even as he continues to preserve it. In Wong’s world, taking yourself too seriously is a mistake, but it is an enjoyable one. ♦

Collage images: “Everything Everywhere All at Once” (A24, 2022). “Giri/Haji” (Netflix, BBC Two, 2019). “Lost in Translation” (Focus Features, 2003). “Moonlight” (A24, 2016). c0nsolecowboy / TikTok. Looks from the collection Heaven by Marc Jacobs | Photographs courtesy Marc Jacobs. The bar at Mood Ring I Photograph by Sara Edwards. Audio: “Quizas, Quizas, Quizas,” by Nat King Cole (Capitol); “Yumeji’s Theme,” by Shigeru Umebayashi (Universal Music).