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I think that Flowers of Shanghai is way overrated, but that could be because I've only seen it on DVD on my laptop instead of on film in a darkened theatre.

Is 2046 showing at the NY film festival? 2046 has already been theatrically released here in Asia and from what I can tell, it's a bit different from what was shown at Venice.


You probably should give Flowers of Shanghai a chance in the cinema. Not a laptop movie.

As for 2046, it was not in the festival becuase Wong Kar-wai pulled it after Cannes to tweak it some more. I read the review in Variety last week -- they said it is 4 minutes longer than the Cannes cut, and the music has been changed.


I was initially disappointed by this film, but it grew on me immediately after leaving the theater and now I think I place it below only Woman is the Future of Man as my favorites of the festival. The delicate, dual foci of Yoko's family issues and contemplations on time (Yoko looking to the past, Hijime to the present; both a bit obvlivious to the future) are wonderfully evoked, and thematically in tune with Ozu. A nice review Filmbrain.

Ian Johnston

As 2046 is already on general release in Asia (just seen it for a second time in an attempt to get over my initial disappointment), there must be other reasons for its non-inclusion in the NYFF.


There is. From what I recall, Wong wasn't finished with his updated version by the deadline of the festival acceptence, even though he was explicitly invited.

Dag Sodtholt

Filmbrain's review states: "The long takes, aesthetic composition, and even Hou's occasional subject matter (family issues, generational conflicts) can all be traced back to the works of the Japanese master".

This is total baloney. Ozu never used long takes, except for some scenes in THE BROTHERS AND SISTERS OF THE TODA FAMILY (made during the war). I think you must be mixing up Ozu and Mizoguchi (you're not the first), which does not reflect well on your abilities as a critic.

Dag Sodtholt

After having looked at the Filmbrain site for a bit after my remark, I think I will apologize for the tone of the last part of my previous remark. Filmbrain seems in fact to be a critic of fine taste, especially in Korean film! I still think he is totally wrong about Ozu being a long-take director though. Look for TURNING GATE by Hong Sang-soo, which Filmbrain admirably admires, for a film of that sort - as far as I remember, every scene is shot in a long, flowing take...

Owen Cox

I saw Café Lumière this afternoon in Paris where it is released in three or four theaters (it got excellent reviews — deservedly). A thick, translucent flow of slightly unquiet lives, with a wonderful use of noises, grunts, half-mumbled words and Jang Wenye's music. And the sounds of trains. Why can't we French (not to mention the Americans) learn from this superlative sense of hearing and stop cloying our films with bad music ?

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