CineCrossroads: “The Mummy,” “In the Mood for Love,” and “Maquia: When the Promised Flower Blooms”

Movie of the Week — The Mummy (2026)

The daughter of a journalist, Katie, disappears in the desert without a trace. Eight years later, she suddenly returns.

Katie undergoes drastic changes, both physically and mentally. Her appearance terrifies everyone around her. But parents try to accept her, a decision that will prove fatal for everyone.

Those who attended early test screenings largely agree on one thing: the film is “disgusting, grotesque, and nauseating.”

Classic Pick — In the Mood for Love (2000)

1960s Hong Kong. Journalist Chow Mo-wan moves into a new apartment with his wife, who is almost constantly away on business. He soon meets his neighbor, Su Li-zhen, whose personal life mirrors his own, as her partner is also rarely at home.

Gradually, Chow and Su realize that their spouses are having an affair with each other. Bound by the same betrayal, they grow closer.

The film is built not on events, but on atmosphere. Its slow rhythm, recurring musical themes, confined spaces, and visual restraint create a sense of quiet intimacy between the characters.

Notably, the spouses of the main characters are almost never shown on screen, keeping the viewer’s focus entirely on the central pair.

Family Choice — Maquia: When the Promised Flower Blooms (2018)

An immortal girl named Maquia finds a human infant and decides to raise him as her son. While she remains unchanged, the boy grows older, and their bond gradually becomes more complex.

This is a rare example of anime centered on motherhood. The film blends fantasy with a deeply grounded emotional drama, following the heroine’s life across many years.

The film marked the directorial debut of Mari Okada, known for her screenwriting work on anime such as Toradora!, Anohana: The Flower We Saw That Day, Hanasaku Iroha, True Tears, Canaan, and Black Butler.

You can read last week’s edition of CineCrossroads here.