Writer, script editor and filmmaker. Lead writer/director on Spectrum (2019). My fault the sonic selfie stick is Doctor Who canon.
I really liked the hyper-focused intimacy of In the Mood for Love and so was surprised by how its sort-of sequel 2046/i> does the opposite by rambling all over the place.
A messy film with too many subplots. Tony Leung's Mr Chow has two new lovers, plus one in a flashback, and backstory to that flashback which I think is In the Mood for Love, and there's the future-set bits which are a dramatisation of his writing... it's all too…
Heartbreaking, but in a warm and lovely way. The hyper-focu of both the narrative and the camerawork – all the sexy close-ups, the fact we never see the two leads' cheating partners – makes it beautifully intimate. We're looking in depth at one aspect of these two people's lives, very much from their perspective.
But there's also a wonderful ambiguity to the idea that there's more going on that we don't see. The nice thought that maybe they did at…
They dance the Continental.
They dance until they ache, and they keep on dancing. They dance until their muscles give in, and they keep on dancing. They dance until they sleep, and they keep on dancing.
Is it the magic of cinema keeping them going? The magic that kept Harold Lloyd hanging to the clock, that turned the gears of Metropolis, that came out of Al Jolson's mouth?
Or is it a darker magic?
The paper cutout of two lovers…
So damn manly.
Men going around smashing other men. Big muscly scary men. Pulling each other's eyes out, throwing them through windows, kicking them in the manhood. The manliest place to kick a man.
Sure, the women get to jump around and have fun murdering too – "strong female characters"? – no, they're without exception motivated, defined even, by the big muscly scary men they're in love with.
Nothing original, nothing emotional, nothing clever. Lots of face-smashing.
It looks nice, though.