2046 was released in the year 2004 at the Cannes Film Festival, and it was finished at the last minute, because the subtitles and the music were not yet coordinated; that is why Kar-wai said that the movie was “complete for now.” The screenplay is Wong Kar-wai’s, even though it is not an adaptation is might be seen as an extension of his earlier work, the film In the Mood for Love. Since this film appears to be an extension it obviously “is set in the 1960’s, […] the locale at the beginning is identified as “Singapore, 1966,” but we don’t see Mo-wan until he has returned from Singapore. […] Mo-wan is a writer of science fiction, having graduated from pornography, and on May 22, 1967, as he informs us he has begun a novel called 2046. Politically, this date is significant as the year prior to the end of the fifty-year interim period that the mainland Chinese government has promised to Hong Kong, the former British colony, before its complete political and legal absorption into the People’s Republic. […] Mo-wan does refer liberally, and interestingly, to various demonstrations and riots that took place in Hong Kong during the 1960’s as specific chronological markers, but this is as political as things ever get.” (Contemporary Film Directors: Wong Kar-wai, 2005, 102,103).
The title of the film makes reference to the novel Mo-wan is writing, but as a whole relation to the film, the title: “2046 is continuously presented not so much as a date but rather as a place that people seek to arrive by means of an ultrafast bullet train, in order to preserve or relocate their memories.” (Contemporary Film Directors: Wong Kar-wai, 2005, 103). Aparently the film tries to make its case through reiterative interpretation of the previous seen themes, if one has acquaintance with his earlier films; if not I shall say that the films tries to make its case to emotional appealing. And for what it concerns to the purpose and main idea of the film it would have to be said that “this film is about a man who is trying to get rid of his past; is also about promises and the many chances all of us miss in life. About how do you deal with your past? This is the question of the film. […] This movie is about that there is a need in all of us to have a place to hide or store certain memories, thoughts, impulses, hopes, and dreams. These are parts of our lives that we can’t resolve or best not act upon but at the same time we are afraid to jettison them. For some, this is a physical place; for others is a mental space, and for a few it is neither. […] It is a film that tries to portray someone trying to get away, but the more you try to get away, the closer you come. But if you just let it go, one day the past memories may leave you.” (Contemporary Film Directors: Wong Kar-wai, 2005, 102, 103, 105, 106). In simpler and brief words, this is a film about how coward it is to try to run away from problems because they hurt, and how the power of our memories keep punishing us for it, until we confront them and realize that the best way is not to run away, but to confront them.
The title of the film makes reference to the novel Mo-wan is writing, but as a whole relation to the film, the title: “2046 is continuously presented not so much as a date but rather as a place that people seek to arrive by means of an ultrafast bullet train, in order to preserve or relocate their memories.” (Contemporary Film Directors: Wong Kar-wai, 2005, 103). Aparently the film tries to make its case through reiterative interpretation of the previous seen themes, if one has acquaintance with his earlier films; if not I shall say that the films tries to make its case to emotional appealing. And for what it concerns to the purpose and main idea of the film it would have to be said that “this film is about a man who is trying to get rid of his past; is also about promises and the many chances all of us miss in life. About how do you deal with your past? This is the question of the film. […] This movie is about that there is a need in all of us to have a place to hide or store certain memories, thoughts, impulses, hopes, and dreams. These are parts of our lives that we can’t resolve or best not act upon but at the same time we are afraid to jettison them. For some, this is a physical place; for others is a mental space, and for a few it is neither. […] It is a film that tries to portray someone trying to get away, but the more you try to get away, the closer you come. But if you just let it go, one day the past memories may leave you.” (Contemporary Film Directors: Wong Kar-wai, 2005, 102, 103, 105, 106). In simpler and brief words, this is a film about how coward it is to try to run away from problems because they hurt, and how the power of our memories keep punishing us for it, until we confront them and realize that the best way is not to run away, but to confront them.
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