2046 (2004)

2046 (2004)

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2046 | Dir. Wong Kar-Wai | 2004 | 129 min
Presented in
Cantonese, Japanese, and Mandarin with English subtitles

Hong Kong filmmaker Wong Kar-Wai rushed his film 2046 to the Cannes Film Festival in 2004, but it was unfinished and failed to impress audiences. A year has passed, and NPR's Bob Mondello says that Wong Kar-Wai used the time wisely.

Wong has developed a reputation as a visual stylist in his art house hits In the Mood for Love and Days of Being Wild. Now using Technicolor for the first time, the director runs riot with color and texture in 2046. And with a cast that includes Gong Li, Zhang Ziyi, Tony Leung and Faye Wong he has also cast some of the most beautiful people alive today.

The result is a sumptuous time-teasing story, as long-time Wong collaborator Leung plays a writer who is fixated on a once-in-a-lifetime love affair — even as he flirts and has affairs with a string of women. - NPR

Awards (with 34 Wins and 74 Nominations, see the whole list here)
2004 CANNES FILM FESTIVAL - Nominated (Palme d'Or | Kar-Wai Wong)
2005 HONG KONG FILM CRITICS SOCIETY AWARDS - Won (Film of Merit), Won (HKFCS Award, Best Actor | Tony Chiu-Wai Leung, Best Actress | Ziyi Zhang), Nominated (HKFCS Award, Best Film, Best Screenplay | Kar-Wai Wong)
2005 NEW YORK FILM CRITICS CIRCLE AWARDS - Won (NYFCC Award, Best Cinematographer | Christopher Doyle, Yiu-Fai Lai, Pung-Leung Kwan, Best Foreign Language Film | China/France/Germany/Hong Kong)
2004 TALLINN BLACK NIGHTS FILM FESTIVAL 2004 - Won (Jury Prize, Best Actor | Tony Chiu-Wai Leung), Won (Special Jury Prize | Christopher Doyle (director of photography)), Nominated (Grand Prize | Kar-Wai Wong )

2046 is the second selection in our MASTERS: WONG KAR-WAI series.

LOVER FOR A DAY (2017)

LOVER FOR A DAY (2017)

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LOVER FOR A DAY | Dir. Philippe Garrel | 2017 | 76 min
Presented in French with English subtitles.

Lover for a Day is an exquisite meditation on love and fidelity that recalls Garrel’s previous films selections Jealousy and In the Shadow of Women. After a painful breakup, heartbroken Jeanne (Esther Garrel) moves back in with her university professor father, Gilles (Eric Caravaca), to discover that he lives with optimistic, life-loving student Ariane (newcomer Louise Chevillotte), who is the same age as Jeanne. An unusual triangular relationship emerges as both girls seek the favor of Gilles, as daughter or lover, while developing their own friendship, finding common ground despite their differences. Gorgeously shot in grainy black and white by Renato Berta (Au revoir les enfants), Lover for a Day perfectly illustrates Garrel’s poetic exploration of relationships and desire. - Acephale

Awards
2017 CANNES FILM FESTIVAL - Won (SACD Prize (Directors' Fortnight) | Philippe Garrel) 
2017 SAN SEBASTIAN INTERNATIONAL FILM FESTIVAL - Nominated (Zabaltegi Section, Zabaltegi-Tabakalera Prize | Philippe Garrel)

Lover For a Day is the first selection in our CONTEMPORARY WORLD CINEMA series.

ASHES OF TIME Redux (1994)

ASHES OF TIME Redux (1994)

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ASHES OF TIME Redux | Dir. Wong Kar-Wai | 2004 | 100 min
Presented in Mandarin and Cantonese with English subtitles.

Mythic, melancholy and mysterious, Ashes of Time is a philosopher's movie.

Set mainly in vast deserts or rolling landscapes all but barren of people, this rambling meditation on love and loss, on conflict between chivalric calling and domestic life, lays out its lessons of costs and consequences against the traditions of the Chinese martial-arts novel.

Ashes of Time, written and directed in a surreal style by Wong Kar Wai, came out of the Beijing Film Studio to compete at the Venice Film Festival in 1994. The film, its distributor says, amounts to a prequel to The Eagle-Shooting Hero, one of the popular martial-arts novels of Jin Yong, in which all three of the film's principal characters appear in subordinate roles and in their old age.

Foremost among these younger selves in Ashes of Time is Ouyang Feng (played by Leslie Cheung), the film's central figure, who, like a samurai, is an itinerant sword for hire. Now, in early middle age, hardened, solitary, beset by memories of the love he abandoned for his vocation, he is mainly an agent, seeking work -- murder -- for other swordsmen.

There is his old friend, Huang Yaoshi (Tony Leung Kar-fai, the star of The Lover), who visits once a year. He has his own sad love story, and he stays in touch with Ouyang's lost love. One year he arrives with a bottle of wine said to possess the magical power to make one forget. Huang drinks; Ouyang declines.

The third of the principals, the swordsman Hong Qi (Jacky Cheung), appears well into the film, after Ouyang has sternly refused a poor young woman's offer of some eggs and a mule to avenge a brother murdered by horse thieves. Hong Qi, who has left behind his own wife, finds the impetus for redemption in his encounter with Ouyang and the poor girl.

For those who seek metaphors, Ashes of Time, which opens today at Cinema Village, presents the eye as well as the illusions of vision. One character is nearly blind. Another, a swordsman, goes blind in the middle of a horrendous battle. Two characters, Yin and Yang -- one presented as a man, the other as his sister -- are identical. And there is a brief appearance by a legendary sword fighter who hones his skills against his own reflection.

For those who seek battle, Ashes of Times offers intermittent blurs of action, streaks of flying figures, flashing steel, and rare spatters and gouts of moist crimson, all washing across the screen like hurried brush paintings.

Like the attainment of wisdom, Ashes of Time requires a long journey through testing terrain. - New York Times
*Originally published: May 17, 1996

Awards
1997 FANTASIA FILM FESTIVAL - 3rd place (Best Asian Film | Kar-Wai Wong)
1994 GOLDEN HORSE FILM FESTIVAL - Won (Golden Horse Award, Best Cinematography | Christopher Doyle, Best Film Editing | Kit-Wai Kai, Patrick Tam), Nominated (Golden Horse Award, Best Adapted Screenplay | Kar-Wai Wong, Best Art Direction | William Chang, Best Makeup & Costume Design | William Chang)
1995 HONG KONG FILM AWARDS - Won (Hong Kong Film Award, Best Cinematography | Christopher Doyle, Best Art Direction | William Chang, Best Costume & Make Up Design | William Chang), Nominated (Hong Kong Film Award | Best Picture, Best Director | Kar-Wai Wong, Best Screenplay | Kar-Wai Wong, Best Action Choreography | Sammo Kam-Bo Hung, Best Film Editing | Patrick Tam, Kit-Wai Kai, Best Original Film Score | Frankie Chan)
1995 HONG KONG FILM CRITICS SOCIETY AWARDS - Won (HKFCS Award | Best Film, Best Director | Kar-Wai Wong, Best Screenplay | Kar-Wai Wong)
2010 IRON ELEPHANT FILM AWARDS - Nominated (Iron Elephant Award, Best Supporting Actress | Brigitte Lin)
1996 NANTES THREE CONTINENTS FESTIVAL - Nominated (Golden Montgolfiere | Kar-Wai Wong)
1994 VENICE FILM FESTIVAL - Won (Golden Osella, Best Cinematography | Christopher Doyle)

Ashes of Time Redux is the third title in our MASTERS: WONG KAR-WAI series.

THE GRANDMASTER (2013)

THE GRANDMASTER (2013)

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THE GRANDMASTER | Dir. Wong Kar-Wai | 2013 | 130 min
Presented in
Mandarin, Cantonese, and Japanese with English subtitles.

Venturing into fresh creative terrain without relinquishing his familiar themes and stylistic flourishes, Hong Kong auteur Wong Kar Wai exceeds expectations with “The Grandmaster,” fashioning a 1930s action saga into a refined piece of commercial filmmaking. Boasting one of the most propulsive yet ethereal realizations of authentic martial arts onscreen, as well as a merging of physicality and philosophy not attained in Chinese cinema since King Hu’s masterpieces, the hotly anticipated pic is sure to win new converts from the genre camp. Wong’s Eurocentric arthouse disciples, however, may not be completely in tune with the film’s more traditional storytelling and occasionally long-winded technical exposition.

With a first-rate production package and glamorous casting, notably the luminous Zhang Ziyi trumping co-star Tony Leung Chiu-wai, Wong’s 10th feature might be his first to win over a mass Chinese audience. Set to make its international bow as the opening-night entry at the Berlin Film Festival, where Wong will serve as jury president, the film has already sold to key markets through Fortissimo Films and the Wild Bunch. It’s set to be released Stateside through Megan Ellison’s Annapurna Pictures, with Ellison credited as a producer on the film.

Five years in the making and reportedly 16 years in gestation, “The Grandmaster” is the latest in a string of period chopsocky films (“Ip Man,” “Ip Man 2,” “The Legend is Born — Ip Man”) centering on the life of the martial-arts master who taught Bruce Lee and popularized the Wing Chun kung fu style around the world. However, Wong’s interpretation stands apart from its predecessors by taking a less conventional biopic route. Offering an eye-opening pageant of martial-arts schools and their radically different exponents, the multistranded but generally linear narrative never dedicates itself entirely to charting Ip’s achievements. Instead, by focusing on his encounters with other fighters, the film arrives at the enlightened realization that there is no single “grandmaster.”

This idea is demonstrated in the opening sequence, when Ip (Leung) remarks: “Kung fu equals two words: horizontal and vertical. The one lying down is out; only the last man standing counts.” Just turning 40 when the film begins in 1936, Ip is an entitled Cantonese gentleman of leisure who lives in Foshan, a popular hub for martial-arts experts from all over the country. This presents numerous opportunities for duels, and the film’s entire first hour feels like a breathless succession of action sequences, accompanied by one-liners of worldly wisdom couched in kung-fu terminology.

Ip’s most significant duel is with Gong Baosen, who has come from Dongbei (then Manchuria) to choose an opponent for one last fight before retirement. Gong’s real intention is to discover young talent and bring it into the limelight, but his match with Ip is not resolved in a way that satisfies Gong’s daughter, Er (Zhang) who is extremely proud of her family’s invincible track record. She tries to teach Ip a lesson, which only brings them closer together.

Something bordering on mutual attraction develops, but the film leaves it oblique, their feelings merely hinted at by the poems they exchange throughout the story. Rather abruptly, the two are separated for more than a decade by war, and narrative interest shifts almost entirely to Er. Driven by the principles of honor that made her challenge Ip, she pits herself against Ma San (Zhang Jin), her father’s defiant disciple, to defend the reputation of the Gong family. Er’s initial pride is offset by a revelation of inner strength when she makes a great sacrifice in order to defeat Ma.

Years of extensive training for this film have enabled the protags to look extremely convincing as masters of their art. Zhang’s moves combine grace and confidence, raising the bar from her perf in “Crouching Tiger, Hidden Dragon,” but even in the dramatic scenes, she’s the center of attention, limning extreme emotional changes as she undergoes a series of tragic upheavals.

By contrast, Leung, the helmer’s frequent muse, lacks his usual intensity here: His Ip Man reveals few distinct characteristics in the early scenes except humility, and shows little emotional variation even as he falls on hard times. Even less satisfyingly handled is the peripheral character of Razor (Chang Chen), a violent and enigmatic drifter whose purpose in the story is so underexplained that he could easily have been excised, despite figuring into one fabulously shot and fought action scene.

Compared with the typically free-flowing structure of Wong’s films, “The Grandmaster” is more straightforward and coherent, with only one (well-placed) flashback. While the fight scenes ensure there’s hardly a lull in the first half, the second half feels hastily stitched together, rendering Ip’s relations with his wife (South Korean thesp Song Hye-kyo) patchy.

Some of the helmer’s artsy trademarks — introspective soliloquies, the sense that the protags are trapped in stasis — have been replaced by ideas more grounded in practical experience, with characters who don’t hesitate to act. In developing a world of strict decorum that is nonetheless predicated on constant competition, Wong clearly benefited from the collaboration of co-scripter Xu Haofeng, here transplanting such elaborate fighting theories from his own films “The Sword Identity” and “Judge Archer” to less cryptic effect.

Having previously grappled with his personal experience as a Shanghai-to-Hong Kong emigre, the filmmaker here applies that theme to a broad historical canvas that deals with the Chinese diaspora and its impact on national identity and the continuity of cultural heritage. Even as the last quarter is suffused with a languid melancholy and heartbreaking loneliness that recalls “In the Mood for Love” and “Ashes of Time,” unrequited love is represented in the context of two irreconcilable ways of life — to survive by biding one’s time, or to burn out by living in the moment.

Tech credits are aces, reflecting a stately, unified aesthetic with a stark palette dominated by blacks, whites and grays. Lensers Philippe Le Sourd (“7 Pounds”) and Song Xiaofei (“Design of Death”) accentuate balletic movement in the fight scenes by shooting from a dazzling variety of angles and at different speeds. They also contrast the austere beauty and expansiveness of Dongbei’s snowy outdoors with the Western-influenced opulence of the South, as re-created in production designer William Chang’s deliberately flashy interiors. Shigeru Umebayashi’s sweeping classical score sometimes swells above the action and dwarfs its impact, but the use of regionally specific songs as period markers helps counter that effect. - Variety

Awards (with 53 Wins and 51 Nominations, see the whole list here)
2014 ACADEMY AWARDS, USA - Nominated (Oscar, Best Achievement in Cinematography | Philippe Le Sourd, Best Achievement in Costume Design | William Chang) 
2014 BEIJING INTERNATIONAL FILM FESTIVAL - Won (Tiantian Award, Best Director | Kar-Wai Wong, Best Actress | Ziyi Zhang, Best Cinematography | Philippe Le Sourd)
2013 GOLDEN HORSE FILM FESTIVAL - Won (Audience Choice Award, Won (Golden Horse Award, Best Leading Actress | Ziyi Zhang, Best Cinematography | Philippe Le Sourd, Best Visual Effects | Pierre Buffin, Best Art Direction | William Chang, Alfred Yau, Best Makeup & Costume Design | William Chang), Nominated (Golden Horse Award, Best Feature Film, Best Director | Kar-Wai Wong, Best Leading Actor | Tony Chiu-Wai Leung, 
Best Action Choreography | Woo-Ping Yuen, Best Film Editing | William Chang, Benjamin Courtines, Best Sound Effects | Robert Mackenzie, Traithep Wongpaiboon)
2013 GOLDEN ROOSTER AWARDS - Won (Golden Rooster, Best Supporting Actor | Qingxiang Wang, Best Art Direction | William Chang, Alfred Yau), Nominated (Golden Rooster, Best Director | Kar-Wai Wong, Best Actress | Ziyi Zhang, Best Sound | Gary Chen (supervising dialogue editor/supervising adr editor))

The Grandmaster is the final work of focus in our MASTERS: WONG KAR-WAI series.