2046 is not a film that you see. You feel the film. And then you feel it again. And just when you think you know what to do, it slips away and takes a part of you with it.
This is Wong Kar-wai at his most honest, romantic, and heartbreaking. The last film in his unofficial trilogy, after Days of Being Wild and In the Mood for Love, doesn't aim to give you closure. It gives you something better: the truth that some loves will always be with you. They just become a part of you.
Tony Leung is amazing as Chow Mo-wan, a man who writes about a world called 2046 where nothing changes and people travel to get back together with lost loves. He does this while claiming he's not writing about himself. Every look, every cigarette, and every unfinished statement is a reminder of a heart that never learned how to let go.
In terms of the visuals? Perfect, as you can expect from Wong Kar-Wai and Christopher Doyle. Wong and Christopher Doyle uses bright reds, dark greens, and hazy golds to paint. The future scenes, such robots riding trains, androids wailing, and lovers stuck in metal carriages, are like dreams that make you cry. Each frame might be in a gallery.
Some people call it wandering. I call it being honest. Love doesn't move as fast as the narrative. It goes around and around. It stays. It goes back to the same wounds because those wounds are the sole proof that something real happened. 2046 gets that. And what about that last shot?Yeah just end me.
On my 3rd viewing of this film, it is still as perfect and beautiful as I first seen it, my 3rd favorite from Wong's catalog.
2046 is not a film that you see. You feel the film. And then you feel it again. And just when you think you know what to do, it slips away and takes a part of you with it.
This is Wong Kar-wai at his most honest, romantic, and heartbreaking. The last film in his unofficial trilogy, after Days of Being Wild and In the Mood for Love, doesn't aim to give you closure. It gives you something better: the truth that some loves will always be with you. They just become a part of you.
Tony Leung is amazing as Chow Mo-wan, a man who writes about a world called 2046 where nothing changes and people travel to get back together with lost loves. He does this while claiming he's not writing about himself. Every look, every cigarette, and every unfinished statement is a reminder of a heart that never learned how to let go.
In terms of the visuals? Perfect, as you can expect from Wong Kar-Wai and Christopher Doyle. Wong and Christopher Doyle uses bright reds, dark greens, and hazy golds to paint. The future scenes, such robots riding trains, androids wailing, and lovers stuck in metal carriages, are like dreams that make you cry. Each frame might be in a gallery.
Some people call it wandering. I call it being honest. Love doesn't move as fast as the narrative. It goes around and around. It stays. It goes back to the same wounds because those wounds are the sole proof that something real happened. 2046 gets that. And what about that last shot?Yeah just end me.
On my 3rd viewing of this film, it is still as perfect and beautiful as I first seen it, my 3rd favorite from Wong's catalog.
