Diary entries for2046
2046
leave me alone, i want to cry
2046
In the Mood for Love 2046
2046
truly need someone to be obsessed with me like chow was with su
2046
fumble after fumble after fumble… if im him, im killing myself
2046
bit of a slower burn than I'm used to with WKW. it did take a bit to fully understand what was happening but that's more to do with how it's structured than a misstep in storytelling. but even during that period i was never bored or wanting of more and i knew it would click eventually, and it's extremely satisfying when it does
2046
deeply sorry for betraying u, ITMFL sweetie... but i'll choose this over u without hesitation.
2046
i wish more AI sci-fi films would adopt this style also where is my robotic affair with takuya kimura
2046
It goes without saying that Wong Kar Wai is one of the most influential and visually distinct directors working today. From his debut film,As Tears Go By, it was clear he had a style entirely his own—one that he would continue to perfect with each subsequent film. And perfect he did. 2046 is the latest film of his I’ve seen, and it’s astonishing just how much he has managed to fine-tune his style by the early 2000s. Functioning as both a spiritual and somewhat direct sequel to In the Mood for Love, 2046 follows Tony Leung’s Chow Mo-wan in the aftermath of his affair with Maggie Cheung’s Su Li-zhen. But while In the Mood for Love fixated on a singular, deeply intimate relationship between the two, 2046 takes a very different approach, chronicling Chow’s multiple romances after leaving Hong Kong. Wong’s characterization of him is a delicate one—he’s a womanizer, undeniably, but there’s a sympathetic edge to him, a defining sorrow that makes him impossible to dislike despite his many flaws. Through Chow, Wong Kar Wai explores the vices and longings of the human condition in ways that are both direct and wholly abstract, layered in a way that makes it somewhat difficult to fully unpack on a first viewing. Coming into 2046, I was, for some reason, under the impression it was a full-fledged sci-fi film. It very clearly isn’t, and that mindset made the first 20 minutes a little strange—I kept wondering when Chow was going to board the Snowpiercer. Jokes aside, the film plays with the sci-fi imagery in a way that feels surprisingly natural within Wong’s world. In these segments, the concept of 2046 is an amorphous destination where nothing ever changes, a clear metaphor for Chow’s refusal to move forward. The way Wong Kar Wai beautifully shoots these sequences feel like an effortless flex—shifting tactfully into a futuristic aesthetic that both complements and heightens his style. 2046 is a film about memories that refuse to fade, about love that lingers too long, and about the places we create to store our regrets. It may very well be one of Wong Kar Wai’s best films—it certainly stands toe-to-toe with my personal favorite, In the Mood for Love—but what I can say with absolute certainty is that it is his best-looking film. The colors, the compositions, the mesmerizing actors, the dreamlike scenery—this is the visual benchmark. Then again, that wouldn’t be fair because, simply put, no one does it quite like Wong Kar Wai. • Watched in 2025 — Ranked (https://boxd.it/C7Jq6)
2046
Le mec a plus de conquêtes que Jules César, mais il embrasse comme un détraqueur, arrête d’aspirer leur âme par pitié
2046
— Take care. Maybe one day you'll escape your past. If you do, look for me. Deus estava muito inspirado quando criou Wong Kar-Wai porque esse homem é absurdo. E ele, igualmente inspirado, criou 2046 para mudar vidas. Não tem outra explicação. A maneira como esse filme conversa após ver Days of Being Wild e In The Mood For Love é algo que faz com que todos os filmes fiquem maiores, e tenham uma história ainda mais grandiosa. Esse, especificamente, é uma carta de amor melancólica. É sobre os dias depois de um amor acabar, da realização de que existe a possibilidade de nunca superar aquele amor que te marcou tão ferozmente. SeIn The Mood For Love é sobre amar sem quase nunca tocar,2046 é sobre tocar sem desejar. Possui uma fisicalidade muito maior, porém capaz de retratar como o vazio de um amor perdido não é preenchido da maneira que queremos. Também é sobre encontrar pessoas certas, mas no momento errado. Seja cedo ou tarde demais. A maneira narrativa de ter Chow Mo-wan vivendo e transportando suas experiências para uma história é algo lindo de se ver. Não sei se pode ser considerado metalinguagem exatamente, mas funciona perfeitamente. É a anatomia da arte: copiando a vida, trazendo experiência e fazendo em algo totalmente novo. Talvez Chow descubra em algum momento que é ali, na escrita, que ele pode superar o que teve, o que perdeu e o que nunca pode ter. Não sei mais o que dizer, afinal estou imersa nos filmes de Wong Kar-Wai há algumas semanas e sempre me surpreendo mais com a capacidade dele em elevar mais ainda os sentimentos e relações humanas. Assim como os demais, vou pensar nesse por mais tempo, porém foi uma ótima experiência.
