This article analyzes Hong Kong director Wong Kar-wai's film "In the Mood for Love" from the perspective of haptic visuality as a way to respond to critical readings of the film as a paradigm of postmodern pastiche. The first part of the article seeks to problematize the concept of filmic image as "disembodied form" by theorizing the possibility of filmic image as "embodied form." The second part of the article discusses how the film successfully captures the sensibility of embodiment by means of an aesthetics of surface that escapes a notion of history that necessarily grounds itself on historical narratives.