IMDb > 2046 (2004)
2046
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2046 (2004) More at IMDbPro »

Photos (See all 25 | slideshow) Videos (see all 2)
2046 -- US Home Video Trailer from Sony Pictures Classics
2046 -- Open-ended Trailer from Sony Pictures Classics

Overview

User Rating:
7.5/10   37,281 votes »
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Director:
Writer:
Kar Wai Wong (screenplay)
Contact:
View company contact information for 2046 on IMDbPro.
Release Date:
29 September 2004 (Hong Kong) See more »
Genre:
Tagline:
Where everything ends... and begins (Spanish translation) See more »
Plot:
The women who enter a science fiction author's life, over the course of a few years, after the author loses the woman he considers his one true love. Full summary » | Add synopsis »
Awards:
41 wins & 39 nominations See more »
NewsDesk:
(18 articles)
User Reviews:
near-masterpiece, Wong Kar Wai's 8th film is sensual, stylish, and affecting See more (207 total) »

Cast

  (in credits order)

Tony Chiu Wai Leung ... Chow Mo-wan (as Tony Leung)

Li Gong ... Su Li-zhen
Faye Wong ... Wang Jing-wen / Android
Takuya Kimura ... Tak / Wang Jing-wen's Boyfriend

Ziyi Zhang ... Bai Ling

Carina Lau ... Lulu / Mimi / Android

Chen Chang ... Mimi's Boyfriend

Jie Dong ... Wang Jie-wen

Maggie Cheung ... Su Li-zhen
Thongchai McIntyre ... Bird (as Bird Thongchai McIntyre)
Wang Sum ... Mr. Wang / Train Captain
Ping Lam Siu ... Ah Ping
rest of cast listed alphabetically:
Wah Hong ... Party girl
Alice Lee ... Hostess
Ting Yip Ng ... (unconfirmed)

Directed by
Kar Wai Wong 
 
Writing credits
(in alphabetical order)
Kar Wai Wong  screenplay

Produced by
Wai-Chung Chan .... line producer
Ye-cheng Chan .... executive producer
Gilles Ciment .... co-executive producer
Eric Heumann .... co-producer
Stéphane Kooshmanian .... associate producer
Amedeo Pagani .... co-producer
Zhong-lun Ren .... executive producer
Marc Sillam .... co-producer
Kar Wai Wong .... producer
 
Original Music by
Shigeru Umebayashi 
 
Cinematography by
Christopher Doyle 
Pung-Leung Kwan 
 
Film Editing by
William Chang  (as William Chang Suk Ping)
 
Production Design by
William Chang  (as William Chang Suk Ping)
 
Art Direction by
Alfred Yau 
 
Costume Design by
William Chang 
 
Production Management
Olivier Chiavassa .... production manager
Chiu Wah Lee .... production manager
Helen Li .... production manager
 
Second Unit Director or Assistant Director
Shin-shi Hui .... second second assistant director
Johnnie Kong .... assistant director
Ji-wei Kuan .... first assistant director
Shao-hua Li .... assistant director
Rosanna Ng .... second assistant director
 
Art Department
Ping Lam Siu .... property master
 
Sound Department
Michael Baird .... sound designer
Yu Teng Hsu .... boom operator
Claude Letessier .... supervising sound designer
Duu-Chih Tu .... sound designer (as Tu Duu Chih)
Bruno Seznec .... re-recording mixer: remix (uncredited)
 
Visual Effects by
Johnny Alves .... digital effects artist
Florent Andorra .... digital artist
Jérôme Arthuis .... processing: DuboiColor
François-Xavier Aubague .... visual effects supervisor
Christophe Belena .... coordinator scans/recording/color grading: Duboicolor
Nadir Benhassaine .... visual effects coordinator: BUF Compagnie
Mélodie Boileau .... visual effects coordinator
Nicolas Bonnell .... visual effects producer: BUF
Coralie Boulay .... visual effects editor
Pierre Buffin .... visual effects supervisor: BUF
Florent Cadel .... digital artist
Nicolas Daniel .... video operator: Duboicolor
Sébastien Drouin .... visual effects supervisor
Laurent Gillet .... visual effects: Buf Compagnie
Rip Hampton O'Neil .... technical director: Duboicolor (as Rip O'Neil)
Sonia Holst .... visual effects coordinator: Buf Compagnie
Abdel Ali Kassou .... processing: DuboiColor
Didier le Fouest .... digital colorist (as Didier Le Fouest)
Damien Macé .... compositor
Karine Marchandou .... digital grading manager
Loris Paillier .... digital artist
Philippe Palmieri .... digital artist
Xavier Perol .... digital artist
Boris Plateau .... digital compositor
Olivier Pron .... concept artist
Olivier Pron .... digital artist
Guillaume Raffi .... visual effects coordinator: Buf Compagnie
Sebastien Rame .... digital compositor
Eddy Richard .... digital artist: BUF
Mathilde Tollec .... digital artist
Daniel Trujillo .... digital artist
Jean-Marc van Rijswick .... digital artist: BUF
David Verbeke .... visual effects supervisor
Dominique Vidal .... visual effects: BUF
Raphael Zito .... digital effects artist
Sophie Gateau .... digital artist (uncredited)
 
Stunts
Wei Tung .... stunt coordinator
 
Camera and Electrical Department
Ian Freeman .... grip
Po Wing Ho .... dolly grip
Pung-Leung Kwan .... director of photography: second unit
Yiu-Fai Lai .... director of photography: second unit
Chi Ming Wong .... gaffer (as Wong Chi Ming)
 
Editorial Department
Serge Anthony .... color timer (as Serge Antony)
Nicolas Billy .... colorist
Pak Shing Lin .... assistant editor
Fabien Pascal .... color timer
Laurent Pelé .... assistant editor
 
Other crew
Stephanie Cheung .... production secretary
 

Production CompaniesDistributorsSpecial Effects
  • BUF (visual effects)
Other Companies

Additional Details

Also Known As:
MPAA:
Rated R for sexual content
Runtime:
129 min
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
Argentina:13 | Australia:M | Brazil:16 | Canada:14A (Ontario) | China:17 | Finland:K-11 | France:U | Germany:12 | Hong Kong:IIB | Hungary:16 | Ireland:15A (original rating) | Ireland:12 (video rating) | Italy:T | Malaysia:U (cut version) | Malaysia:18SX (uncut version) | Netherlands:12 | Portugal:M/12 | Singapore:NC-16 | South Korea:18 | Spain:18 | Switzerland:10 (canton of Geneva) | Switzerland:10 (canton of Vaud) | UK:12A | USA:R
Filming Locations:

Did You Know?

Trivia:
Each character speaks their own languages. Mr. Chow speaks Cantonese, Bai Ling speaks Mandarin, and Tak speaks Japanese even when talking to each other. Even so, they seem to understand each other perfectly.See more »
Quotes:
Chow Mo Wan:Love is all a matter of timing.See more »
Movie Connections:
References Chinese Odyssey 2002 (2002)See more »
Soundtrack:
AdagioSee more »

FAQ

What are the differences between the Chinese Version and the Uncut Version?
See more »
40 out of 56 people found the following review useful.
near-masterpiece, Wong Kar Wai's 8th film is sensual, stylish, and affecting, 11 August 2005
Author: MisterWhiplash from United States

I read different takes on 2046 and its connection to its predecessor by writer/director Wong Kar-Wai, In the Mood for Love. Some said you had to see it before 2046, although the general consensus was that the unusual romanticism and little details in both films, and actors like Tony Leung and Maggie Chung, made the only real connection(s) (Wong himself has said ironically to see 2046 before In the Mood for Love). It seems, after seeing the film, that he was correct; I had seen half of In the Mood for Love a while back, and I did get an idea of what I might expect, but the fact is is that 2046 really does work fine as a film on its own terms. It's a story that at first seems like it will be style over substance, and at times it is, but the substance is usually very intriguing, and keeps attention. It isn't a perfect film, and towards the end it starts to lag, but such criticisms are made up for by the attributes.

We learn from the narrator and lead character, Chow (Leung), that there is a place, if not a time, called 2046, where people don't leave unless they fall in love. But, for the bulk of the film, the film is not set in any kind of futuristic setting that might be assumed on the outset of going into the film. It's set in late 60's Hong Kong, where Chow writes lurid fantasy stories. He takes room 2046 after seeing a woman, Su (Li Gong), in the room. He feels that this place is where he, like others, can go to "lose memories" ("All memories are traces of tears", a title-card reads), which spurs him on the start writing a sci-fi novel with the room's title.

During his stay, he meets two women that effect him: an abused girl, at first acting aloof, Lulu/Mimi (Carina Lau), leaves and the later comes back in the film as a kind of writing assistant for Chow. The more significant woman, however, is in the form of call-girl Bai Ling (Zhang Ziyi, a woman so gorgeous it borders on the unreal), who like the others takes room 2047, and becomes Chow's "drinking buddy". But this soon turns to playfulness, to a side affair. Although there is much else that goes on in the film, this has some of the best material, with wonderful dialog and style giving room for perhaps th best performance I've seen from Ziyi yet.

This is not all to the film, though it could've been and been as successful. The women in Wong's films, like with Hitchcock or even Antonioni or Godard (all directors he was obviously inspired by for his own original stance), are crucial to how it turns out. These women express everything Wong desires, abandons, represses, flirts, and acts cool with. They spur on almost every one of his creative pieces (he gives a short story of 2047 to one, who wonders why the ending is so sad, to which he cannot create a happy one), and all of the things he'd rather not forget. Without the strong performances from them all, in particular Ziyi, Lau and Cheung, the drama just wouldn't be there, and certainly the style giving much weight to the film would become over-cooked and pretentious.

The style, of which, was something I took various notes of while I watched, scribbling bits, elements, colors and shots that caught my eyes: the greens in the halls, the brightness of outside on the porch, the black and white scene in the cab (one of my favorites), and of course the futuristic visualization scenes of Chow's own 2046. What's curious about the real sci-fi type scenes is that they make little sense aside from the central point- finding real love and the exile following- but the atmosphere, use of different colors and shots and film speeds (Christopher Doyle, a DP on most of Wong's films, does beautiful work all around) is unique, and basically saves a dramatically empty sequence.

There is also the question of slow-motion, which is used to much more effect than in the previous Wong films I've seen, and if it is over-used. It becomes a distraction only towards the end, when one wishes things were not TOO romanticized, but many times it is affecting, and tries to past the melodrama in some of the (above average) writing. Overall, Wong Kar-Wai displays without a shadow of doubt with 2046 that he is a master of compositions, of moods, and of creating characters that are true to themselves, who feel and love but can't seem to reach for it. But this doesn't make it an 'empty' film. If a scene missteps or something gets irksome with the style, it comes back around at the next minutes.

Was the above review useful to you?
See more (207 total) »

Message Boards

Discuss this movie with other users on IMDb message board for 2046 (2004)
Recent Posts (updated daily)User
After my first watch of 2046... akamrboy
Faye Wong way better than Zhang Ziyi the_wainman
Why doesn't anyone return from 2046? DerSuppenkasper
Any news of a Blu-Ray? Accipitridae
tony leung absolutely amazing objesguy
a masterpiece psidiver-1
See more »

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