2046 (2004)

Regisseur:

Kar Wai Wong

Drehbuchautor:

Kar Wai Wong (screenplay)

Premierendatum:

29. September 2004 (Hong Kong)

Genre:

Drama | Fantasy | Romanze | Sci-Fi

Werbezeile:

Where everything ends... and begins (Spanish translation)

Plot:

He was a writer. He thought he wrote about the future but it really was the past. In his novel, a mysterious train left for 2046 every once in a while...

Plot Keywords:

Cross Cultural Relationship | Unrequited Love | Sequel | Sex | Android

Filmpreise:

21 wins & 30 nominations

Nutzerkommentare:

near-masterpiece, Wong Kar Wai's 8th film is sensual, stylish, and affecting

Besetzung

Tony Leung Chiu Wai	...	Chow Mo-wan (as Tony Leung)
Li Gong	...	Su Li-zhen
Faye Wong	...	Wang Jing-wen / Android
Takuya Kimura	...	Tak / Wang Jing-wen's Boyfriend
Ziyi Zhang	...	Bai Ling
Carina Lau	...	Lulu / Mimi / Android
Chen Chang	...	Mimi's Boyfriend
Jie Dong	...	Wang Jie-wen
Maggie Cheung	...	Su Li-zhen
Thongchai McIntyre	...	Bird (as Bird Thongchai McIntyre)
Wang Sum	...	Mr. Wang / Train Captain
Ping Lam Siu	...	Ah Ping
übrige Besetzung in alphabetischer Reihenfolge:
Ting Yip Ng	...	(unconfirmed)

Regie
Kar Wai Wong

Buch (In alphabetischer Reihenfolge)
Kar Wai Wong		screenplay

Produktion
Wai-Chung Chan	....	line producer
Gilles Ciment	....	co-executive producer
Eric Heumann	....	co-producer
Stéphane Kooshmanian	....	associate producer
Amedeo Pagani	....	co-producer
Marc Sillam	....	co-producer
Kar Wai Wong	....	producer

Originalmusik
Shigeru Umebayashi

Kamera
Christopher Doyle		(director of photography)

Schnitt
William Chang		(as William Chang Suk Ping)

Szenenbild
William Chang		(as William Chang Suk Ping)

Bauten/Dekorationsbau (art directors)
Alfred Yau

Kostüme
William Chang

Produktionsleiter (production managers)
Olivier Chiavassa	....	production manager
Helen Li	....	production manager

Regieassistenten
Shin-shi Hui	....	second second assistant director
Ji-wei Kuan	....	first assistant director
Shao-hua Li	....	assistant director
Rosanna Ng	....	second assistant director

Ausstattung (Stab)
Ping Lam Siu	....	property master

Ton Stab
Michael Baird	....	sound designer
Yu Teng Hsu	....	boom operator
Claude Letessier	....	supervising sound designer
Du-Che Tu	....	sound designer (as Tu Duu Chih)

Visual Effects
Johnny Alves	....	digital effects artist
Florent Andorra	....	digital artist
Jérôme Arthuis	....	processing: DuboiColor
François-Xavier Aubague	....	visual effects supervisor
Christophe Belena	....	coordinator scans/recording/color grading: Duboicolor
Nadir Benhassaine	....	visual effects coordinator: BUF Compagnie
Mélodie Boileau	....	visual effects coordinator
Nicolas Bonnell	....	visual effects producer: BUF
Coralie Boulay	....	visual effects editor
Florent Cadel	....	digital artist
Nicolas Daniel	....	video operator: Duboicolor
Sébastien Drouin	....	visual effects supervisor
Laurent Gillet	....	visual effects: Buf Compagnie
Rip Hampton O'Neil	....	technical director: Duboicolor (as Rip O'Neil)
Sonia Holst	....	visual effects coordinator: Buf Compagnie
Abdel Ali Kassou	....	processing: DuboiColor
Didier le Fouest	....	digital colorist (as Didier Le Fouest)
Damien Macé	....	compositor
Karine Marchandou	....	digital grading manager
Philippe Palmieri	....	digital artist
Xavier Perol	....	digital artist
Boris Plateau	....	digital compositor
Olivier Pron	....	concept artist
Olivier Pron	....	digital artist
Guillaume Raffi	....	visual effects coordinator: Buf Compagnie
Sebastien Rame	....	digital compositor
Eddy Richard	....	digital artist: BUF
Mathilde Tollec	....	digital artist
Daniel Trujillo	....	digital artist
Jean-Marc van Rijswick	....	digital artist: BUF
David Verbeke	....	visual effects supervisor
Sophie Gateau	....	digital artist (uncredited)

Stunts
Wei Tung	....	stunt coordinator

Kamera und Elektrik (Stab)
Ian Freeman	....	grip
Pung-Leung Kwan	....	director of photography: second unit
Yiu-Fai Lai	....	director of photography: second unit
Chi Ming Wong	....	gaffer (as Wong Chi Ming)

Schnitt (Stab)
Serge Anthony	....	color timer (as Serge Antony)
Fabien Pascal	....	color timer
Laurent Pelé	....	assistant editor

Restlicher Stab
Stephanie Cheung	....	production secretary

Produktionsfirmen

• Arte
• Block 2 Pictures
• China Film Co-Production Corporation
• Classic
• Columbia Pictures Corporation
• Fortissimo Films
• France 3 Cinéma
• Jet Tone Films
• Jet Tone Production
• Orly Films
• Paradis Films
• Shanghai Film Studios
• Zweites Deutsches Fernsehen (ZDF)
• arte France Cinéma

Verleihfirmen

• 1More Film (2005) (Netherlands) (theatrical)
• 20th Century Fox (2004) (Hong Kong) (DVD)
• 20th Century Fox (2004) (Singapore) (theatrical)
• A-Film Home Entertainment (2004) (Netherlands) (DVD)
• Alfa Films (2005) (Argentina) (theatrical)
• ArtCam (2005) (Czech Republic) (theatrical)
• Block 2 Pictures (2004) (non-USA)
• Buena Vista International (2004) (Japan) (theatrical)
• Cinema Mondo (2004) (Finland) (theatrical)
• Filmcoopi Zürich (2004-2005) (Switzerland) (theatrical)
• Fox Korea (2004) (Korea) (theatrical)
• Istituto Luce (2004) (Italy) (theatrical)
• Madman Entertainment (2005) (Australia) (DVD)
• Madman Entertainment (2005) (New Zealand) (DVD)
• Mongrel Media (2005) (Canada) (theatrical)
• Océan Films (2004) (France) (theatrical)
• Paramount Home Entertainment (2005) (Germany) (DVD)
• Prokino Filmverleih (2005) (Germany) (theatrical)
• Sony Pictures Classics (2005) (USA) (theatrical) (subtitled)
• Tartan Films (2005) (UK) (theatrical)
• Tartan Video (2005) (UK) (DVD)
• Transeuropa Video Entertainment (TVE) (2005) (Argentina) (DVD)
• Transeuropa Video Entertainment (TVE) (2005) (Argentina) (VHS)

Spezialeffekte

• BUF (visual effects)

Weitere Firmen

• Duboi  digital film scanning
• Kantana Animation Co. Ltd.  film processing
• Laboratoires Éclair  color timing
• Les Auditoriums de Joinville  sound re-recording
• London Symphony Orchestra, The (LSO)  orchestra: "Casta Diva"
• Ramindra Sound Recording Studios  sound recording studio
• Salon Films  camera and lighting equipment provided by
• Shanghai Film Technology Plant  film processing
• Shaw Brothers  prints: Hong Kong
• Tai Fung (Tsu's) Co. Ltd.  film supplied by (as FUJIFILM)

Alternativ:

2046 - Der ultimative Liebesfilm (Deutschland)

MPAA:

Rated R for sexual content.

Länge:

129 Min

Produktionsland:

China | France | Deutschland | Hong Kong

Sprache:

Kantonesisch | Japanisch | Mandarin

Farbe:

Schwarzweiss | Farbe

Seitenverhältnis:

2.35 : 1

Tonverfahren:

Dolby Digital

Altersfreigabe:

Hungary:16 | Australia:M | Malaysia:18SX (uncut version) | Canada:14A (Ontario) | Argentina:13 | Hong Kong:IIB | Brazil:16 | Malaysia:U (cut version) | Finland:K-11 | France:U | Germany:12 | Ireland:12 (video rating) | Ireland:15A (original rating) | Italy:T | Netherlands:12 | Singapore:NC-16 | South Korea:18 | Spain:13 | Switzerland:10 (canton of Geneva) | Switzerland:10 (canton of Vaud) | UK:12A | USA:R | China:17

Drehorte:

China

Firma:

Arte

Dies und das:

The camera points to the left side of Faye Wong's face when she cries. She has problems crying with her right eye, so Wong Kar-Wai shot her crying scenes on the left side of her face. However, there is one scene where the camera films the right side of her face purposely.

Dialogzitate:

Mr. Wang: Our cabin attendants are superbly designed... But there's only one problem : when they've served on so many long journeys, fatigue begins to set it. For example, they might want to laugh, but the smile would be slow to come. They might want to cry, but the tear wouldn't well up till the next day...

Bezüge zu anderen Titeln:

Folgt Fa yeung nin wa (2000)

Soundtrack:

Siboney

near-masterpiece, Wong Kar Wai's 8th film is sensual, stylish, and affecting

I read different takes on 2046 and its connection to its predecessor by writer/director Wong Kar-Wai, In the Mood for Love. Some said you had to see it before 2046, although the general consensus was that the unusual romanticism and little details in both films, and actors like Tony Leung and Maggie Chung, made the only real connection(s) (Wong himself has said ironically to see 2046 before In the Mood for Love). It seems, after seeing the film, that he was correct; I had seen half of In the Mood for Love a while back, and I did get an idea of what I might expect, but the fact is is that 2046 really does work fine as a film on its own terms. It's a story that at first seems like it will be style over substance, and at times it is, but the substance is usually very intriguing, and keeps attention. It isn't a perfect film, and towards the end it starts to lag, but such criticisms are made up for by the attributes.

We learn from the narrator and lead character, Chow (Leung), that there is a place, if not a time, called 2046, where people don't leave unless they fall in love. But, for the bulk of the film, the film is not set in any kind of futuristic setting that might be assumed on the outset of going into the film. It's set in late 60's Hong Kong, where Chow writes lurid fantasy stories. He takes room 2046 after seeing a woman, Su (Li Gong), in the room. He feels that this place is where he, like others, can go to "lose memories" ("All memories are traces of tears", a title-card reads), which spurs him on the start writing a sci-fi novel with the room's title.

During his stay, he meets two women that effect him: an abused girl, at first acting aloof, Lulu/Mimi (Carina Lau), leaves and the later comes back in the film as a kind of writing assistant for Chow. The more significant woman, however, is in the form of call-girl Bai Ling (Zhang Ziyi, a woman so gorgeous it borders on the unreal), who like the others takes room 2047, and becomes Chow's "drinking buddy". But this soon turns to playfulness, to a side affair. Although there is much else that goes on in the film, this has some of the best material, with wonderful dialog and style giving room for perhaps th best performance I've seen from Ziyi yet.

This is not all to the film, though it could've been and been as successful. The women in Wong's films, like with Hitchcock or even Antonioni or Godard (all directors he was obviously inspired by for his own original stance), are crucial to how it turns out. These women express everything Wong desires, abandons, represses, flirts, and acts cool with. They spur on almost every one of his creative pieces (he gives a short story of 2047 to one, who wonders why the ending is so sad, to which he cannot create a happy one), and all of the things he'd rather not forget. Without the strong performances from them all, in particular Ziyi, Lau and Cheung, the drama just wouldn't be there, and certainly the style giving much weight to the film would become over-cooked and pretentious.

The style, of which, was something I took various notes of while I watched, scribbling bits, elements, colors and shots that caught my eyes: the greens in the halls, the brightness of outside on the porch, the black and white scene in the cab (one of my favorites), and of course the futuristic visualization scenes of Chow's own 2046. What's curious about the real sci-fi type scenes is that they make little sense aside from the central point- finding real love and the exile following- but the atmosphere, use of different colors and shots and film speeds (Christopher Doyle, a DP on most of Wong's films, does beautiful work all around) is unique, and basically saves a dramatically empty sequence.

There is also the question of slow-motion, which is used to much more effect than in the previous Wong films I've seen, and if it is over-used. It becomes a distraction only towards the end, when one wishes things were not TOO romanticized, but many times it is affecting, and tries to past the melodrama in some of the (above average) writing. Overall, Wong Kar-Wai displays without a shadow of doubt with 2046 that he is a master of compositions, of moods, and of creating characters that are true to themselves, who feel and love but can't seem to reach for it. But this doesn't make it an 'empty' film. If a scene missteps or something gets irksome with the style, it comes back around at the next minutes.