Abdul Moeed Qurishi’s review published on Letterboxd:
“Completes a trilogy, 2046 is a moody piece that is deep in human emotion. It balances love, romance, and passion greatly. Performances and visuals are alike and the director seems to have everything in a fine rhythm."
The title of the movie refers to the 50 years of Hong Kong being given to the Chinese government. It is the year when Hong Kong will be free from the 1 nation two government situation. Although the movie does not have anything related to that because it is a third movie in the Kar Wai Wong trilogy about drama and romance. 2046 tells the tale of an author, Chow (Tony Chiu Wai Leung) who cameoed in the Days Of Being Wild during its final moments. Even though all three movies don't really connect with the story or characters the film is connected with the director's passion and the screenplay's themes. Most actors do return but they play different characters setting a very anthology type of deal here. 2046 is regarded highly as futuristic or science fiction but in fact, 2046 contains very little futuristic scenes hose futuristic sequences last so little on the screen that it might be a misnomer for "2046" to be deemed about the future when in reality we are taken back to the sixties when Mr. Chow is seen so much in love with Bai Ling. This is ensemble acting at its finest, but if I must pick a winner then Zhang Ziyi steals it. Wong has gathered several, of the time, best Chinese actors. Tony Leung is absolutely superb in the male lead. The interaction with everyone involved in total. Everyone is so convincing in their role interpretations and they really go into their roles. The best asset in the film is the music the director adds to the different scenes. Some of the music is nostalgic, some operatic, or depending on whatever is being emphasized at the moment. The music enhances the action in ways that make the film hard to forget. This asset can be seen in the whole trilogy, sets the mood very nicely. The visuals, mood, pacing, and music are all hopelessly seductive. Your heart aches for all of these emotionally crippled characters. Looking every inch the femme fatal when she first appears, the slow erosion of her character into the emotional void of Chow is the cathartic core of this film. More so even than Leung's character, it is the selfless but ill-fated Zhang we empathize with. The director's technique calls for an infinite amount of medium shots, usually over the shoulder of the person that listens. As a matter of fact, there is hardly any scenery in the film since most of the action either takes place while the characters are seen in conversation, or in bed where some of the torrid encounters take place. The futuristic scenes seem to be a sort of limbo where the characters, like the beautiful Android, seem to in a world of her own. Overall, like the first two films in the Kar-Wai trilogy, the film demands view, a view with patience and trust because only then Kar-Wai's direction rewards you an experience, an affecting experience.
Ensemble cast. Direction. Cinematography. Score. Screenplay.