Director: Wong Kar-wai (Third film)
Imagine that In the Mood for Love is a box. A little red box. With silk ribbons and a dim spot light obscuring half of it from our view. Now imagine (that 2046 is the untying) you untie the silk ribbon and pull, slowly opening the box and out comes a flood of colour which contrasts the sharpness of reality - almost burgeoning the locked away emotions which you tried to lock away…
Two Oh Four Six is a nightmare that haunts you.
Two Oh Four Six is a problem that can’t be solved.
Two Oh Four Six is a rehearsal after the performance.
Two Oh Four Six is an ideal that can never be realized.
Two Oh Four Six is endless reexamination.
Two Oh Four Six is a bird with no hope of purchase.
Two Oh Four Six is time out of place.
Two Oh Four Six is an excuse.
Wong Kar-wai knows how to emotionally destroy me.
Dice la RAE:
(Del dim. de bueno).
1. adj. grande (que supera a lo común).
2. adj. Lindo, agraciado de cierta proporción y belleza.
Pues eso. Kar-wai en estado puro. Un universo estético inigualable.
It is my opinion that Wong Kar-Wai is one of the greatest directors to be making movies right now. His masterpiece In the Mood for Love is easily the finest piece of cinema that the world has received from Hong Kong, and each of his films have a distinct mood that is enhanced by their atypical narrative structure and incredibly innovative camerawork.
And that right there is what this film is all about to me: a mood.
2046 explores themes…
In the Mood for Love: A Space Oddity
Lots of what makes Wong Kar Wai great can be found in 2046. Interestingly, I think it is his choice of connecting this film to In the Mood for Love, which has basically all of the best Wong can offer, that is its biggest error.
2046 picks back up with a bitter Chow Mo-wan after the trying times of In the Mood for Love. He does lots of womanizing and is not a particularly good person because he's not close…
Intreccio suggestivo e potente, contorto e complesso quanto le classiche e universali tematiche affrontate dal regista.
Il dolore e la melanconia di un ricordo che si confondono con l'ambizione e il protendere verso la ricerca di un futuro tanto emozionante quanto inquietante. Un flusso temporale dilatato fino all'eccesso che in realtà congela il racconto in un eterno presente.
La sensualità delle protagoniste femminili conferisce al film quel conturbante alone di mistero e di sconfitta, sappiamo già che questo viaggio non…
Jesus Christ. This is the work of a master, Wong Kar-Wai. I'm not sure if it's perfect, but I know it's a masterpiece. I know time will tell when I see this in glorious HD.
Wong is memorable, to me at least, with his visuals. '2046' is visually his best film. There's nothing quite like the myriad of lights surrounding a train to nowhere. There's a cool to this movie that…
Bit puzzled by Tony Leung's character's complete personality change from demure editor to China's biggest shagger South of Beijing.
I don't know, found this quite a tedious watch and oddly empty. It's weird, In the Mood of Love is such an incredibly sensual film in every aspect. This has lots of sex but that's it.
More arthouse wank than actual art.
La primera vez que vi esta película no pude creer lo que había experimentado. Supone ser el cierre de una trilogía llena de decepción, romance, sexo y mucha tristeza. Y cuándo me esperé un final que al menos se asomara hacia la felicidad, obtuve quizá el más triste y melancólico film de los tres.
2046 se empapa de un guión que disfraza el amor y la perdida en una épica de ciencia ficción, dónde todo evento que ocurre tiene relación…
It's Wong Kar-Wai, so it's obviously visually stunning and filled with themes of unrequited love and longing. Problem is, it's clumsily structured. It appears Kar-Wai wants to combine several different films. Seeing as none of them work enough on their own, they don't work enough as a cohesive film. The film also feels more protracted the longer it goes. The last 20 or so minutes felt like they weren't ever going to end. There's some stellar scenes throughout and it's…