I'm pretty sure Christopher Doyle would tell you Heineken.
Much of the cinematography in
In the Mood for Love, but pretty much none of his other films, I found to be reminiscent of Japanese cinema, such the placement of the camera being perpendicular to the background and the usage of aperture framing. Also worth noting is that the balance between the syuzhet and the fabula in the narrative information conveyed in ITMFL is strikingly similar to that in the films of Yasujiro Ozu, which might be partially fueling my belief in the "Japaneseness" of the film.
