2046

Saw 2046 today. Wong Kar Wai ... wow.
[there is a sense in which]
That is a lame statement. The ideas take shape in movement and colour, forming a visual collage of events.
[this is noise]
Each scene encapsulates its truths visually the way beautiful prose sometimes does in words.
[I]
Like in Pascal Bruckner's Evil Angels (but no exploration of perversions here).
[this is an authorial intrusion]
Or a more sensual Milan Kundera.
[The individual moments are more than the sum of the parts]
I made it onto the page, hi ...
[What the man manages to put onto those film negatives - is breathtaking. He learned a few tricks from Lynch in the use of bright and neon colours.

Red.

There is a scene where the visual distribution of blue and red is out of a Lynch movie. Or did Lynch learn from Wong Kar Wai?]
Wong must be his surname.
[In another scene the main character walks up a staircase. The visual frame is literally broken into two parts: an area of complete darkness, between one half and two thirds of the frame, to the left; and the staircase, to the right. Soft lighting and the slightest blur. And the camera angle. Brilliance]
They speak for me. I have nothing more to say.
[Or another scene, in the clear foreground a woman's hand, blur of lights and colours in the background on the right. Wong Kar Wai understands that beyond the semantic meaning of a scene, i.e. what it represents or signifies, an impression may itself become meaningful without attempting to represent or even symbolise. The impression goes beyond the symbol. At least one thing that sets a great filmmaker apart from an ordinary one]
this is noise
[The simple cohesion of In the Mood for Love has, in 2046, dispersed into recurring impressions of the incommunicable at the end of ITMFL. They emphasise the main character's experience of incompleteness, of loss and the irretrievable in memories of Ms. Chan]
I
[thus 2046 speaks into the metaphorical hole of incommunicability and the impressions, the affairs, are like sunlight on water, beautiful undulations on the veil of an unrelenting silence. These movies are companion pieces]

[My thoughts are rather less than footnotes to the movie]

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