Set in 1960, the film centres on the young, boyishly handsome Yuddy, who learns from the drunken ex-prostitute who raised him that she is not his real mother. Hoping to hold onto him, she ... See full summary »
Yiu-Fai and Po-Wing arrive in Argentina from Hong Kong and take to the road for a holiday. Something is wrong and their relationship goes adrift. A disillusioned Yiu-Fai starts working at a... See full summary »
Kar Wai Wong
Tony Chiu Wai Leung,
A disillusioned killer embarks on his last hit but first he has to overcome his affections for his cool, detached partner. Thinking it's dangerous and improper to become involved with a ... See full summary »
A boy stands on a station platform as a train is about to leave. Should he go with his mother or stay with his father? Infinite possibilities arise from this decision. As long as he doesn't choose, anything is possible.
He was a writer. He thought he wrote about the future but it really was the past. In his novel, a mysterious train left for 2046 every once in a while. Everyone who went there had the same intention.....to recapture their lost memories. It was said that in 2046, nothing ever changed. Nobody knew for sure if it was true, because nobody who went there had ever come back- except for one. He was there. He chose to leave. He wanted to change. Written by
Production was shut down during the SARS epidemic in March 2003. See more »
I don't get it. Were does all that fun get you? If you find the right person, why waste time on the others?
Chow Mo Wan:
If I find the right person? A man like me has nothing much except free time. That's why I need company.
So people are just time fillers to you?
Chow Mo Wan:
I wouldn't say that. Other people can borrow my time to.
And tonight? Are you borrowing me, or am I borrowing you?
Chow Mo Wan:
No difference. Maybe I borrowed you earlier, now you're borrowing me.
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Bits and Pieces of Love Stories from a Writer's Mind: A Wondrous Journey
Kar Wai Wong is more than a film director (though he is one of the finest directors working today!): he is a visual, poetic, creative and daring artist capable of more cinematic miracles in one isolated film than most directors achieve in a lifetime. '2046' is a visually stunning, intellectually challenging, emotionally charged view of love and lust in today's kinetically dysfunctional society.
There is no one way to interpret this non-linear film and therein lies much of its rewards. The main character Chow (Tony Leung) is a writer and a libertine who has pushed his vacuous life around with his hormones and though he has had many affairs he has failed to find the illusory 'love'. He has lived in Singapore and Hong Kong, makes his living writing columns of newspapers while his novels formulate in his mind. One of his novels is called '2046', the title based on the room number in a hotel where he witnessed a bizarre incident involving a gorgeous woman, and resulted in his moving into the adjoining room 2047 where is meets the hotel manager's daughter in love with a Filipino Japanese man her father loathes. He desires this unattainable woman and fuses her with a fictional 'android' in his novel which now uses '2046' as a year or time or place where people go to find memories. He continues to encounter women for whom he desires more than surface relationships (there is a stunning lady gambler cameo who represents everything he lusts and longs for, etc) but he is never able to find his tenuous ideal: his memory is his only source of consolation.
The actors in every role include many of the finest actors available: Li Gong, Ziyi Zhang, Carina Lau, Maggie Cheung, Takuya Kimura, Chen Chang, and of course Tony Leung. But it is Kar Wai Wong, the writer, director, choreographer, colorist, visionary that makes this excursion into the interstices of the mind/imagination so overwhelmingly satisfying. Whether the viewer elects to view the story as a continuation of the director's previous films, or as reality vs memory, fiction vs imagination, sci-fi excursion, or simply a plethora of vignettes about the challenges of finding love in a world geared toward instant gratification, this is a magnificent achievement. In many ways the sound track could be turned off (though the beautiful musical score by Peer Raben and Shigeru Umebayashi with a lot of help from Maria Callas! would be missed), and the inventive cinematography and visual image manipulations by Christopher Doyle, Pung-Leung Kwan and Yiu-Fai Lai such as the constant dividing of the screen into triptychs and diptychs would remain some of the most beautiful photographic images on film.
This is not an easy film to follow and it is most assuredly one that will grow in importance with repeated viewings. The comparison with Alain Resnais' 'Last Year at Marienbad' suggests its potency. But free the mind and enter into the world of '2046' for one of the most satisfying cinematic achievements of the recent past. Very highly recommended. Grady Harp
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