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Recensies
2046
Wong Kar-wai Hongkong SAR van China, 2004
The film is divided into episodes centered on different women, who are played magnificently by Carina Lau, Zhang Ziyi, Faye Wong, and Gong Li. (As in LOVE, the women are magnificently dressed too.) This was Wong’s first film in widescreen, though he shot most of it in medium close-up—the film transpires in an intimate space where it seems that sex (or, possibly, a deeper connection) is only a breath away.
January 19, 2018
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Wong and Doyle conjure gorgeous scifi images in the sleek confines of the 2046 train and the blank-eyed yet mysteriously emotive robots who stalk the deserted conveyance, Kimura’s perfect manga hero their detached and pensive companion-lover. Nor is scifi the only genre Wong rifles, as he steps into film noir and paperback romance tales. Gong’s gauntleted gambler could have stepped out of his frustrated attempt to film the source novel for Orson Welles’ noir masterpiece The Lady From Shanghai.
September 21, 2016
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The gorgeous composition and moody texture of setting is everything. Doorways and draperies frame encounters, intertwined with sci-fi sequences from the novel Chow is writing in which lonely souls on a vast railway network try to reach 2046 – where it’s said nothing changes, so there is never loss.
February 09, 2016
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Like Before Sunset, this continuation of characters from an earlier film [In the Mood for Love]… rejuvenates and deepens the possibilities of the oft-scorned term “sequel,” which typically indicates nothing more than a passionless cashing-in on an established brand, worlds away from the glorious expansions proved possible by Linklater and Wong… From the stolidity of that simple number, Wong abstracts and spins one of the most searingly beautiful evocations of lost love ever put to celluloid.
August 14, 2013
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