Interesting throughout but it never reaches an emotional peak even approaching those that can be found in Kar-Wai's best. Also, though it's an admittedly unfair criticism, I can't help but feel that the abundance of recent films with blue-orange color scheme that flood the market has somewhat tempered my enjoyment of this film's visual, with the exception of the shots of the women and horse which were sublime.
Desde su escondite, un hombre será testigo de drama ajenos. Forasteros a los que conoce poco o nada, pero que a fin de cuentas va reconociendo algo a fin en ellos. "Cenizas del tiempo" coincide el encuentro de individuos que han decidido abandonar sus tierras producto de una búsqueda o una carencia. Es bien a la aventura o al amor. Dicho destierro será estrategia para madurar cualquiera de estas necesidades.
Not flawless (and thank the gods of inspiration for that!) but undeniably one of the most beautiful of films. A film about legendary people, connected by destiny. A bit like Querelle, the gorgeous immanence of the film's style is used to undermine outmoded concepts of "honor." Along with Fallen Angels, the most urgent and cathartic of Wong's films.
Easily the most complex of his films, where he prefers "painting" scenes and characters rather than using a more conventional narrative structure. Yes, his almost trademark non-use of a script can put certain persons off (and I can't blame them), it is so remarkably directed and choreographed that you have to surrender to the flow and let your spirit go.
When this was released in '94 it could have been Wong's breakthrough but that honour went instead to Chungking Express, released the same year. Never entirely satisfied with the original, he tinkered with it and released a Redux version fourteen years later. It's astonishingly beautiful but the fractured narrative was so confusing I decided to just sit back and enjoy the visuals without trying to figure it all out...
The landscape as a mirror, reflecting the characters' inner turmoil, solitude and grief. No conventional plot to speak of, but fragments of memories scattered across the fields, the play of light, and the poetic voiceover create a two-way confessional between protagonist and viewer. Faint traces of Godard - the voice on the landscape: mournful, tragic, contemplative - but anchored by Wong's whirling melodrama.