Without a doubt "2046" is one of the most impressive Chinese films that I have seen. It invites the viewer to a world of time (year 2046, when Hong Kong truly integrates with mainland China; the past, the present, and the future of the storyteller) and space (the hotel rooms 2046 and 2047). The film urges the viewer to look at the future with nostalgia for the past (not its achievements, rather its missed opportunities). On the face of it all, it appears the battleground of the four dimensions revolve around man-woman relationships. But the director teases the viewer, is that all that is presented? "2046" probably eclipses Hollywood's "Matrix" and "Minority Report" in its elliptical story-telling. "2046" is a heady mix of fine screenplay, alluring cinematography and clever choice of music. Not having seen the prequel to this film, I might be at a disadvantage at appreciating several nuances.
I saw the film during the recent Dubai Film Festival within 24 hours of two other engaging films: "Kong Kue" (Peacock) a brilliant Chinese film and the Italian film "Consequences of Love" and I cannot but help compare the three. "Kong Kue" leaves you satisfied of having seen a great film, "Consequences of Love" makes you marvel at how Buster Keaton and Tati can be creatively adapted to contemporary tastes (with similar symbolic hotel rooms as in "2046"), and "2046" enthralls the intelligent viewer without satiating his intellect. "2046," unlike the other, two does require more than one viewing.
While all three are major films, one fact is quite evident--the current decade seems to belong to serious Chinese cinema, just as the previous decade belonged to Iranian cinema.
I saw the film during the recent Dubai Film Festival within 24 hours of two other engaging films: "Kong Kue" (Peacock) a brilliant Chinese film and the Italian film "Consequences of Love" and I cannot but help compare the three. "Kong Kue" leaves you satisfied of having seen a great film, "Consequences of Love" makes you marvel at how Buster Keaton and Tati can be creatively adapted to contemporary tastes (with similar symbolic hotel rooms as in "2046"), and "2046" enthralls the intelligent viewer without satiating his intellect. "2046," unlike the other, two does require more than one viewing.
While all three are major films, one fact is quite evident--the current decade seems to belong to serious Chinese cinema, just as the previous decade belonged to Iranian cinema.