“In The Mood for Love” was a stunning achievement, but “2046” is like a belch after a great meal. You get some of the flavor but it evaporates and leaves an unpleasant taste in your mouth. That said, it has a gorgeousness in the midst of the contrivance. I have read that Doyle thinks that they had done this better with the earlier film.
The suppressed sexual desire of In the Mood For Love erupts into a dangerously seductive erotic fantasia, and it lets you realize that the two stories couldn't exist without the other. As a fable about failed attempts to replace impossibly idealized love, it couldn't be simpler. But it luxuriates in details, characters, and meta games, as if Wong's ambitions ballooned to where reality alone couldn't contain them.
para wong o amor é um elemento cujas substâncias formadoras são feitas essencialmente de espaço e tempo. mas ,para ele, o amor acontecer é necessário uma aleatoriedade sem fim em que o período cronológico é aniquilado na tentativa de encontrar algo como o verdadeiro amor.
So sehr der Film mich visuell inspiriert, so sehr lässt er mich inhaltlich leider kalt. Ein Streifen, den ich unglaublich gerne mögen würde, aber der Funke will nicht überspringen. Die Bilder sind wirklich wunderbar, die Lichtsetzung brilliant. Der Rest bekommt mich nicht. 4/10
Incredible performances from an ensemble cast, but this is WKW at his best and worst. His excellent compositions and direction of his actors are the pinnacles of this film, but like Ashes of Time, his stylistic flourishes are unnecessary distractions--story structure is too rigid & free-flowing in equal measure. I find 2046 suffers from the same unfortunate emotional incomprehensibility as Ashes of Time.
"love is all a matter of timing," states a film in which time is illusory, elliptical, constantly calling back and calling forward. how there is nothing more beautiful than something never truly realized. wong kar-wai, the brutal sentimentalist, has somehow created two hours in which love and time play off of each other like furious performers in a red-hued duet. when the music fades, poetry remains.
You need to have serious cajones (or not a care in the world) to follow up a flawless jewel like IN THE MOOD FOR LOVE w/ something that forcefully draws attention back to that flawless jewel. 2046 was a colossal gamble, and because Wong is grappling w/ more here than he could ever be expected to express in words, it is a bit of a mess. But the gamble was nonetheless worth it. Ultimately this is a work of great power.
2046 is a kind of loose sequel to both DAYS OF BEING WILD and IN THE MOOD FOR LOVE. Because those movies and this one contained a character played by Tony Leung Chiu-Wai. In my opinion, 2046 is an ambitious work from director Wong Kar-Wai. This movie is more complex than those two movies. Not just romance, this also has some sci-fi elements in it. Christopher Doyle's cinematography succeed to hypnotized me...