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on 21 June 2015
A thoroughly good watch. I like the films of Tony Leung, Chungking Express being the best. If you liked that one you'll like this. The visuala are quite stunning, the plot line confusing at times and there are bleak bits but the overall effect is uplifting. I don't think Leung's films are really great films up there with the best. But life would be sadder without them. For instance, I love Bach, Schubert, Bob Dylan and Lous Reed but for some reason I am still open to be charmed by Abba, if you get the drift. Leung is Abba-esque as regards film.
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on 8 March 2008
I had seen this movie twice and although I was fascinated by its imagery, atmosphere and visual effects I was somewhat perplexed and slightly confused by the plot.
I went back to the movie "in the mood for love", then I carefully read the plot of 2046 in the "Wikipedia" and played (actually "studied") the video on my computer viewing and reviewing the difficult parts until the whole movie made sense.
The reward was immense. It is a difficult, fragmented, somewhat chaotic film but it is a work of art, a real masterpiece. In fact I can claim it as the most beautiful film of the last ten or so years.
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on 6 July 2015
To watch this film you have to have an open mind, so beautifully written and the cast are inspiring. Zhang ziyi is very talented as is Tony.
This is the first film I have watched where Zhang is not using her martial art skills.
I have watched it through with regular breaks to let my mind process the story.
Would highly recommend this film.
Well packaged and quick delivery. Thanks
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on 2 December 2013
The first disc was enchanting, so different from the western style. Once I got into the 'mood' of the story it held my attention. The second disc was very different to the first, too explicit in comparison, it didn't have the emotional depth and was too involved with the physical. I was bored with it, I think because it lacked a story line.
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on 31 March 2008
Tony Leung is back as Chow Mo Wan but this is not the gentlemanly journalist we met in 2000's In The Mood For Love. This Chow spends his days writing pulpy erotic fiction and his nights gambling, drinking and womanizing a string of beautiful women (Zhang Ziyi, Faye Wong and Gong Li all star in an incredible A-List cast).

In a voice-over narration Chow tells us about a sci-fi story he is working on. It's about a young Japanese man riding a train through time to 2046 where he hopes to recapture his lost memories and achieve emotional closure. The movie toggles back and forth between the writer's real life in 1960s Hong Kong and the futuristic fictional world of his imagination. Gradually Chow realizes he is writing about himself.

FROM 2046: "I once fell in love with someone. After a while she was gone. I couldn't stop wondering if she loved me or not. I went to 2046 hoping to find her there. But I never found her." Now doesn't that sound familiar?

The stories are told in nonlinear fashion so you might need to pay attention, or pay it a repeated viewing. Simply put and to avoid an over long synopsis, 2046 is gorgeous, sublime, engaging, hypnotic and unique. Wong Kai Wai is again a true master at work.

But be warned: like many foreign delicacies this film can be an acquired taste.
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This is an enigmatic film, a visual and cinematographic feast, as the hero, a science-fiction writer, tries to overcome a broken heart with a story about a train that travels through time to 2046. The women he loves and lost and their stories are woven together in a masterful piece of cinema. Recommended
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on 7 September 2011
As other reviewers have already stated, 2046 is a sumptuous exercise in style over substance. The plot is wafer thin and strives to conjure a melancholy search for lost time and recaptured memory. There's a peculiar science fiction aspect to the plot which is not entirely successful, and not a little confusing, though its slowly-paced meditative qualities are reminiscent of Tarkovsky's epic 'Solaris'. But the real success of 2046 is its meticulous attention to framing, colour, texture, costume and lateral camera movement. Most of the story is told in close-ups or medium shots and this flattening of perspective creates a tapestry-like effect. Every shot is a masterful composition and some even look like a fashion shoot. The actresses are gorgeous in their striking costumes and the director clearly relishes the erotic and melodramatic elements of the story. This is probably not a film you'll want to watch many times, though the sheer beauty of it is somewhat engrossing.
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on 6 June 2013
not a bad film quite, interesting but not really my thing it is subtitled which i am a fan of but the best thing about it is its cinamatography it is visually beautiful, and Ziyi Zhang is always worth watching .
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Chinese film maker Wong Kar Wai weaves a stylish web of romance and fantasy in this somewhat disjointed story about a writer whose fiction begins where his life leaves off--or vice versa. Starring Tony Leung, who played Broken Sword in Yimou Zhang's Hero (2002), as Chow Mo Wan, the writer, and Ziyi Zhang as Bai Ling, the vulnerable and gorgeous prostitute, "Two Oh Four Six" mystifies as it beguiles. Worth watching just as eye candy and to hear the music in the background, 2046 appropriately enough moves between Hong Kong and Singapore, two great Asian economic tigers, and then into the future which will be (let's face it folks) Chinese, very Chinese.

This is the first of Wong Kar Wai's films that I have seen. He reminds me a little of Yimou Zhang in that he strives for beauty in his production, in the sets, the scenes and the costumes. His interiors are darker than Zhang's and his scenes are more cosmopolitan, and unlike Zhang he does not aim to make any kind of social statement. There's a touch of American film noir in his story that focuses on Chow, the existential man who makes his living by writing newspaper articles and mass market fiction while meeting and pleasing the ladies, especially the ladies of the evening. Tony Leung's easy charm and confident manner make him a natural for the part, an deeply introspective man who likes the night life. I thought it was interesting--and maybe this is just me--that he looked a bit like Clark Gable with that thin moustache and surefooted way with women.

Ziyi Zhang is fascinating to watch, but so are the other actresses, including Li Gong who has a modest part as Su Li Zhen, prostitute turned professional gambler, and Jie Dong and Faye Wong who play different aspects of Wang Jie Wen. The sense I get from Chow's point of view is a succession of beautiful women moving before his eyes and in his memory, women he had loved but somehow never possessed. As he says, "Love is all a matter of timing. It's no good meeting the right person too late or too soon."

One of the ideas touched upon here is that of the android lover. I have little doubt that once humans are able to create life-like androids or robots, one of the first enterprises will be to make them experts at pleasing people sexually. Another idea is that of impermanence, of time as our master, of time as fickle and malevolent with change as our enemy. Everybody wants to go to 2046 and never return because nothing ever changes in 2046. Or so it is said because nobody really knows since nobody ever returned from 2046--except Chow. We can guess he returned to find somebody in the past, to recapture something he missed.

In this way, Wong Kar Wai plays with time and human emotions. The result is a gorgeous movie that transcends cultures and leaves the viewer wondering what is real and what is make believe. Here's a question, where is that country from which no one returns? Is such a place a metaphor? And for what? Here it is from Shakespeare's Hamlet: "The undiscover'd country from whose bourn/No traveler returns..." This is from the "To be or not to be" speech, and that country is death.
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on 23 March 2006
I had no idea what to expect from this film – was it a love story? A Sci-Fi? Both? I just couldn’t work it out. Therefore, for the first half of the film I was mildly confused as to what was happening, because I was expecting the film to be something else entirely. The first half of the film concentrates on the male lead, a writer who is a bit of a playboy, moving from woman to woman and using the lady next door for sex in room 2046 (Zhang Ziyi) and for a while I found the film itself to be quite cold as I wasn’t completely drawn in and didn’t care too much for the lead character. Then it changed style completely, and became a Sci-Fi! What you’re actually watching is the ‘book’ he is writing which is based on love lost etc (autobiographic), and set on a futuristic train (the effects are stunning) where he falls in love with an android (an analogy for the character he is in love with in the ‘real’ world). I don’t want to give too much away, but I must admit to having had to watch it twice to understand it fully. Whilst I do think the film is a bit convoluted at times, it is one of the most visually stunning films I have ever seen. The clothing on the ladies, the use of light / colour / shadows / the operatic music / the slow motion scenes, all of it, every single frame, is a piece of art in itself. All the actors are excellent, but in particular I was impressed by Zhang Ziyi who gives a truly incredible performance.
The extras are mediocre. The only item worth mentioning really is the interview with the director who discusses the difference between this and the prequel (In the mood for love), but at its best, is nothing more than a standard interview that you feel is passed out to TV stations for them to edit in their own journalists!
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