Walter Andrade’s review:
"All memories are traces of tears"
You you ask me if I liked 2046 I'd have only one answer:
- Are you asking me if I like Cinema?
2046 is no more no less than pure cinema in 128 minutes.
The sequel for In the Mood for Love is no attempt to make money jumping in the car of success, it is, indeed, an incredible journey through the paths the first movie opens, it opens up the possibilities of answers to the first movie and analysis closely human "mature" relationships.
In the second film men is potentially an active and passive agent of his journey but he is also always susceptible to variations in the stream of time itself. Differently from his first movie where the protagonist was being completely drowned by the mood of love, here he has already passed through this and is walking a different journey, he is searching in every corner of life a meaning for his lonely existence. To Wong Kar-Wai, to exist is to be susceptible to the unpredictable and to act is to draw your own mark on time trough other people's life.
The movie depicts that brilliantly in all different steps: the search of love, the difficulty of leaving someone you love behind and the fumble of lent love.
In this film Christopher Doyle also shares the direction of photography with Pung-Leung Kwan and their fellowship seems more complex here. Cinematographically speaking this movie is more plural, there is a interesting mix of two different personalities which wasn't so relevant in the first movie and that gives to this movie this odd sensation that you're as lost as Mr. Chow.
2046 is about love, real love, carnal love, spiritual love and so it is also about time. Love is elusive and slippery, but it marks deep in one's soul. Wong Kar-Wai's slow takes might also be slippery for those who wants to see cars exploding, but it is pure art for those who like cinema.