Visually Impressive, that’s probably the idea that comes to mind when one thinks about Wong Kar Wei, I just watched “2046”, that Kar Wei titled that way in a vague reference to the year that the Hong Kong’s — the place where the plot took place — special administrative region agreement with China is set to expire. In “2046” Kar Wei has taken beyond all expectations his visual proposal of films.
Every frame in 2046 is a poem, masterly composed, the idea of a frame within a frame to convey this sense of being all-time watched that he started in “In the Mood for Love” is used here too, but in a more subtle way, his characters can see the past, — or the future? — through a hole in a sort of slice of a tree-trunk, alluding the idea that “in the past, when people had secrets they didn’t want to share, they climbed to a mountain, find a tree and carve a hole in it and whisper the secret into the hole then covered it with mud”
2046 is the last of a trilogy by Kar Wei including “Days of Being Wild”, “In the Mood for Love” and “2046”, as in most intelligent trilogies, such as Three Colors by Krzysztof Kieślowski, there are some connections and patterns among the three films, but it can’t be said that there are clear connections or patterns, even though the same actors represent the same characters who seem to be really different people 20 or 30 years later … like frequently happens in real life.
What really inspired me of this film, is the depth of emotions conveyed by the characters, the pain of loss, but more than the pain of loss, the pain of living through a set of emotions that time-and-again end up being buried along with a myriad of feelings, sensations, reactions, and more in a place where nobody can see them, but still, they hurt. All these Hong Kong characters living in a surreal world full of muted colors creating a chaotic, fiercely vicious, but incredibly beautiful mosaic of stories, of love stories.
What does the image have to do with “2046”? probably nothing, but the fact that the film inspired me to continue this incessant search for the art of mundane things, the beauty of the aberrant.
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