Went to see "2046" on Broadway in Cyberport, it was not bad. Rather than a sequel to "In the Mood for Love," it's a modern take on "Ashes of Time," not a movie about a story, but about time. One gets drunk and dreams of death to forget, one gets on the train to 2046 to find. Time and memory are inseparable, Kundera wrote in "Slow", "Making time has form requires memory, because things without form are unpredictable and difficult to remember." Therefore, memory is the carrier of time. Wong Kar-wai uses the symbol 2046 to express it. According to himself, the name 2046 comes from 1997 and will not change for 50 years. In my opinion, 2046 can be any word, not even a word without any meaning.
There is a line at the beginning of the film, which is fleeting and reads "All the memories are wet", I prefer the English translation "All the memories are trace of tears". "Everyone who goes to 2046 has some common purpose, to find some lost memory. Because nothing will change in 2046. No one knows if that's true because whoever went there...none came back.…”. What you see is the future, but what you say is the past. In 1966, even the era of evil and evil. What hasn't changed is that people are lonely, hurt, and then hurt others. After Zhou Muyun told the hole in the wall at the end of In the Mood for Love at the Cambodian village, Su Lizhen passed by. A lot of things should have passed like this, the problem is that we have to embark on a journey to 2046 to find out. Kimura put a lot of tape on his body and asked if he should give up. Jingwen finally went to Japan and married him. Regardless of whether they live a happy and happy life after their marriage, it is a rare reunion ending here. Jingwen wrote a letter asking Mu Yun to make the ending of the novel a little happier. One hour, 10 hours, or even 100 hours passed. Zhou kept smoking and thinking, but he couldn't write. This is the way it is, if you have ever faced the choice of going or staying, continuing or ending forgetting or remembering, it seems that it is difficult to have a good ending anyway.
The music and picture quality of the film follow Wong Kar-wai's consistent style. Every piece is beautiful when you listen to it, and every second of it can be used as a poster. The most impressive thing is the rooftop of the Oriental Hotel. Although the real space is so small and dilapidated, the imaginary space can be unlimited. The movie uses facial close-up more often, and each actor's performance is very delicate, crying, laughing, not crying or laughing, you can see the pain of inner struggle, except Zhang Ziyi. Compared with the previous works of Wong Kar-wai, the character's self-narrative is much less. At some moments, for example, when Lulu saw Zhou Muyun, she suddenly had a lot of past events, and Su Lizhen, played by Gong Li, decided whether to go with Zhou Muyun. The director successfully used silence, and she felt very tense in the cinema. I think it's a big improvement.
No wonder it took five years to do it so finely. As a director in Hong Kong, it is very, very difficult. This is a place where everything is efficient. Still in Kundera's "Slow", he wrote that "there is a secret connection between slowness and memory, between fastness and forgetting. Let's talk about an ordinary situation: a man is walking on the road. Suddenly, he wants to recall What happened, but just can't remember. At this time, he slowed down mechanically. On the contrary, if someone wants to forget the bad luck he just encountered, he will unconsciously speed up the pace of walking, as if to quickly avoid the Things that are still very close to him in time. In existential mathematics, the degree of slowness is directly proportional to the strength of memory; the degree of fastness is directly proportional to the strength of forgetting." For Chinese people who are so busy that they have no time to fly It is normal to not understand Wong Kar Wai's films, and his films are very popular in Europe, and I think I should live in Europe too.
Looking forward to his next film.
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