Mung chung yan

I can tell that this is an old movie because Chow Yun-Fat is seriously young. Lin Chin-sha amazingly don't look all that different in the '70s, '80s, and '90s. Young or not, Chow Yun-Fat already has 10 years of acting experience behind him, and is about to break big with his starring role in "Better Tomorrow"

The two actors has outstanding on screen presence in this movie. The word best of the best comes to mind when seeing these two actors together. It's no wonder that they became international stars. They have such great chemistry together as lovers too. In this movie, most of the time there're only two actors, but don't feel lacking in any ways. They are beautiful, vibrant, and convincing.

I'm just envious about Chow Yun-Fat to be able to snog Brigitte Lin so much in this movie. But he's very deserving to have this role.

Certainly the best romantic movie of all times, and highly recommended for viewing.

Dream Lovers is the first film I have ever seen that uses a specific color palette: terra-cotta, orange, teal, red and black. This combination of colors is so ravishing that it takes my breath away. Two other films come close-Black Narcissus and Crouching Tiger, Hidden Dragon.

The story itself is complex and mysterious. A man and a woman, both professionals each "see" each other in dreams, mirrors, in an apartment, and a busy street, and finally, in person. They feel strangely connected. The way their story plays out involves the young man's girl-friend of 8 years and the young woman's father and his friend. There is also the young girl's grandmother who happens to be a witch.

The intense love story and the tragedy that follows is classic Greek in its depth and consequence. A gorgeous film that will shatter the viewer.

Chow Yun-Fat is at his most handsome in this film and the two women with whom he interacts are both beautiful. The acting is of the highest level. The direction marvelous especially in the cutting of this film and the way the mystery is revealed.

I can't recommend this splendid love/mystery story highly enough. It is one of my most favorite films.

The two leads are so gorgeous you are swept away in this tale of lovers from ancient China and modern Hong Kong. The modern man and woman dream of each other as Qin Dynasty lovers and then they find each other at the display of the warrior statues from the tombs of the Qin ruler at a museum. They are swept up in their dream world and how it impacts their modern lives makes for a riveting story. Very erotic and strange.

Chow Yun Fat and Brigitte Lin are both perfectly cast as the lovers. The haunting music carries the story along and sets the mood. A first rate romance.

A hypnotic film, one of the finest romance mysteries ever filmed. Tony Au's direction is awe-inspiring. His background as an art director is readily apparent in this beautifully conceived and shot film.

Chow Yun-Fat and Brigitte Lin have their incredible talents used to the hilt in this romantic mystery about a pair of tragic lovers from 2100 years before now reincarnated in modern Hong Kong. No film has better illustrated the adage that the course of true love never runs smooth.

Erotic, lyrical, shamelessly romantic yet never sentimental. A stunning masterpiece which rivals any of the classic French films of the modern era.

5 of 5 stars for cast, director, cinematographer and writer. Superb.

One of the few ghost stories to work on film, and one of the few really eerie and erotic films from Hong Kong that I have seen, this study of a couple caught up in the past is simply conceived but fascinatingly spun out as it follows their reactions stage by stage, thanks to the sensitive interplay of the two actors in their double roles. This is easily the (two) most interesting of Chow Yun Fat's performances I have seen, and it is illuminating to see Brigitte Lin head on for once, and allowed to develop her role(s) unobscured by the bizarre, the trivial, or the merely picturesque. The atmosphere of the early scenes very much resembles that of some of Robert Aickman's ghost stories, except that here one knows what is going on. One particularly pleasing and persuasive touch is that neither the lovers nor anyone else doubts it; the older characters feel the burden of the past too (there is probably an allegory in that, if one cared to work it out). My main quibble is with the synthesizer pulse in the background; it works, as it always does in films of this type, and here it is introduced legitimately (one of the characters composes synthesizer music), but the effect is still too easy, and the actors deserve a subtler one to match their performances.