It seems that every Wong Kar Wai movie will leave a sentence. Of course, the most impressive thing is the evil in the east and the poison in the west. The expired canned food in the forests of Chongqing, and the footless bird in the real story of Ah Fei are the primary equipment of the senior petty bourgeoisie. It seems that whoever can’t recite a few words will be greeted by countless suddenly unfamiliar eyes from the fireworks lane of the petty bourgeoisie world. Throw it out in the ground. I can't get used to those dialogues full of written language, and I don't plan to list these classics full of language sickness and hypocrisy, pretending to admire, let alone pretending to be an unfathomable turtle and tangled in there. "Is it a movie that makes a sentence or a sentence?" made a movie" and so on. It's just that after watching a movie that leaves me speechless, I always have to say a few words out of habit.
Wong Kar Wai always likes to play with figures of unknown origin, just like Zhou Muyun likes to play with women of unknown origin. 2046 is a mystery, and we can only follow the movie to uncover the mystery. The meaningful story is not without the shadows shuttle, the beautiful woman holding the bun, the peerless youth. Gong Li's hands, Faye Wong's shoes, Zhang Ziyi's waist, Maggie Cheung's cheongsam, and Carina Lau's symbolic facial makeup, the pearls are all over the body, as if they are all from the future. 2046 is like a firm watcher, watching the superficial jokes happening right now, watching this group of women who can't find a home. The movie ended and the feelings have not yet found their home. Those disgraced and enchanting meaningless searches finally stood their ground because of the word emotion, but their posture was a bit awkward. I can only sigh to myself, this is just a group of brides who can never wear wedding dresses. Like all the numbers that have been revealed, they are very tacky floating in the wind.
I admire Du Kefeng's exquisite shooting of Faye Wong's collarbones. The old pervert can always smell the most perfect shooting angle. Jing Wen is the only woman who has not had any entanglement with Zhou Muyun, and is also the only woman who can theoretically be happy. This is rarely seen in Wong Kar-wai's movie script that mocks love blindly. Maybe it was Kimura's big innocent eyes that earned him sympathy points, or maybe it was because he was the only man who was different from Zhou Muyun. The letter sent back from Japan seems to show that happiness is not unattainable, even if it is 10,000 kilometers away from you, I am afraid that you will not find the right person.
The appearance of Bai Ling is amazing. Her frivolous appearance hides her youth and invincibility. There are so many women in the movie, only her coming and going is relatively complete. Bai Ling knows how to ask and reject, an unusual firework woman. The only thing I regret is that in almost all the episodes in 2046 in which Bai Ling and Zhou Muyun appeared together, they went to bed in addition to going to bed.
Desire is really a cunning fox, hiding those secret feelings and disappearing. Bai Ling's last glass of wine made Zhou Muyun a little emotional, but unfortunately this man who was imprisoned in the romantic world could only accept the game, so he had to endure pity. Bai Ling thought too much, but she had no choice but to have fantasies about such a man. From fantasizing that she was the only one to the most special one, the bottom line of the poor woman fell to the bottom with the corners of the man's mouth rising again and again. Even if she traded her dignity for the status of a chicken, she still tried to use her body to win Zhou Muyun's favor. Compared with the naked person in front of him, what a man misses more is the one he will never get, or the next one.
In Wong Kar-wai's tone, everyone hides a fox in their hearts, and whoever plays emotional games is more scheming. Whoever can't hold back first will be injured. Victory will always belong to the one who doesn't care about the result. If it is true feelings, there is no need to care about winning or losing.
In the Mood for Love, Su Lizhen only appeared in Zhou Muyun's mind, and the few frames that flashed by almost fooled everyone. Looking for a substitute is often just a statement used by men to excuse himself. The life of smoking, drinking and women is not something he can easily put down. The empty bed in the second half of the night is more suitable for Mr. Zhou's professional needs of writing erotic novels day and night. A man's attitude towards love mostly comes from his attitude towards life. Colleague A Bing's statement is very incisive. "At the beginning of the month it looks like a butterfly wearing a flower, but at the end of the month, it is half dead". He holds two birthday drinks a year and cheats thousands of dollars. I just went to Macau, and I don't take people too seriously when they don't take their lives seriously.
The train bound for nothingness is ushered in and sent to the dust and the dust. Those lovers who pass by are not necessarily unhappy, but the woman who meets Zhou Muyun is only miserable. He makes all the women cry, he's a master of fun and a bastard. Zhou Muyun deserved to be the most pitiful on Christmas Eve. I wonder if Wong Kar-wai had the same experience twenty years ago.
"2046" is already his Nth work, and he still can't escape from his memories to find familiar figures. Wong Kar-wai doesn't use scripts, he only writes himself on small notes, Tony Leung is not acting, he is just acting himself. How many people who watched the movie saw themselves in 2046.
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