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   37,028 votes »
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Up 16% in popularity this week. See why on IMDbPro.
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:
Cumulative force of these moments cannot be described 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:
Originally conceived as a story of a hit man in Bangkok (hence the casting of Thai actor Bird Thongchai McIntyre). The hit man was to be played by Japanese superstar Takuya Kimura, and the events to be played out in a hotel in room 2046.See more »
Quotes:
Chow Mo Wan:When you don't take "no" for an answer, there is still a chance you'll get what you want.See more »
Movie Connections:
Soundtrack:
DecisionSee more »

FAQ

What are the differences between the Chinese Version and the Uncut Version?
See more »
58 out of 73 people found the following review useful.
Cumulative force of these moments cannot be described, 19 January 2006
Author: joesnuff from Mission Viejo, California

I love story with impact, new ideas and rich characters. I love exploring the mechanics of the thing. There are few films like 2046 proposing radical new ways of vicariously experiencing time and place. Easily misunderstood or confusing, it can be. Understanding and completing the 'story' in these kinds of films doesn't occur in the films themselves. We complete them in the realm of reflection, experience, and assumptions made in how to reflect, collect, categorize, and morph them with our own life stories. Sometimes these films are just a call to empathize with the filmmaker.

Wong Kar Kai is a filmmaker who calls for a personal empathy. He works to capture all the unique dynamics of romance, and how they bend our sense of time and space.

He turns his camera every which angle to try and find new vocabulary for telling a story. Well, he doesn't tell stories, he asks whether stories are found in relationships. We get pieces of stories on top of hidden stories, our focus shifts from "story" to emergent feelings out of the glimpses.

This is sophisticated, and scary when unprepared for the exotic nature. We want the familiar, but are given delicately meandering puzzles, opaque hints at beginnings, middles, and endings. Just like we don't always know at what point our own stories are unfolding. But we know the emotional states as they are lived.

Since 2046 lacks many standard cadences, it is a struggle to follow the statement through the movements. These are not even vignettes, these are a seamless series of leaps that push and pull like the emotions of day to day life. They have an indecisive flux we hope is asymptotically reaching a conclusion, but they just keep coalescing and spilling over into the imagined future from where no one has yet returned. Once we think we have moved beyond the past do we then realize that we create an unknown future by attempting to reconstruct the past in the present.

And so the main character is a writer of 'fiction' (this very movie) who through the process of embedding real life circumstances into his science fiction he also tries to determine if there is a destination this is all heading. 2046 is a place you visit to relive unchanging memories so that you will never change. Alternately, 2046 is also a time existent only within a science fiction novel when people will access substitute lovers without the haunts of what broke them in the past. So they think.

He has already been damaged by the loss of an impossible standard that cannot be met by another (see In the Mood for Love first!). So in his novel, lovers become characters. Feelings become fictional ornamentations in the future. In the present, he cannot connect with the women who come and go. In the fiction, the lack of connection is simply a matter of technological limitations.

Think about what happens in the aftermath of a failed relationship or a missed opportunity. We may grieve, but also sometimes we obsessively construct a future fantasy based on what should have happened if things had gone right; if only some vital detail didn't change things how it did. We inhabit that imagined future and interact with our counterpart ghost, making plans and times and places accordingly. We might use this process as a shield and a warning. Or it sabotages, taking on a life of its own as a mental blueprint, directing the actual present and perceptions of new companions.

Lush, poetic cinematography fills each second of this film to great mood inducing effects. In 1960's Hong Kong, where the bulk of the events take place, the dynamics of romantic encounters hide in unassuming corners of that society, only brought to light by looking at the normal world in very abnormal ways. One almost gets the impression that set pieces and abstract designations were literally dreamed up. The camera often cramps our frame of vision. Various off-center closeups which in a sense shut out the outside world, but paradoxically bring it all in to bear. There are many places where the camera does not seem to have a good shot of a character or an event, we the viewers were just unlucky to miss the opportunity of getting the full revelation of something.

And it frustrates; we want to know everything but get very little by way of visual exposition. We are forced to work on the clues, the voice overs, the symmetrical accidents in different centuries and different countries. This is not analogous to idly putting together a complex puzzle set, this is reconstructing a mystery while at the same time being on the verge of shedding tears at the quiet understanding that it isn't a mystery, it's life with a character who mediates between reality and fantasy to deal with it all. I know the kinds of things this film is about, but I've never looked at them from this stance before. As is often the case, the artist (here the writer/filmmaker) is just the one who experiences what the rest of us experience and talks about its secrets rather than conceals them.

See this film if you want to know how it's possible to visually show the invisible, inner turbulence and romantic visions that tend to hide from the outside world. On the whole, 2046 weaves in the present a future fiction invaded by the past, bred by the throes of confronting the human faces of opportunities that appear, disappear, reappear and fade and collapse into each other.

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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