Labyrinth of Time in Wong Kar-Wai’s In the Mood for Love and 2046

The aim of this paper is to analyse and interpret two films of Hong Kong director Wong Kar-Wai, In the Mood for Love (2001) and 2046 (2005), through the lens of Gilles Deleuze’s and other theorists’ writings on cinema and time. Both films consist in a temporal labyrinth where the boundaries between the past and present, the actual and virtual, the real and imagined, memories and dreams are blurred. The labyrinthine quality of time – its loops, repetitions and potentialities – demonstrates here the processes governing memory. The paper explores Kar-Wai’s strategies to denote the protagonists’ internal emotional time in which memories are plunged: the films’ mood, lyricism, poetics of openness, musical leitmotifs, editing, colour, light and focus on objects. All of these devices contribute to depicting an image of duration; the essence of time.

Author Name: 
Front, Sonia
Journal: 
Asian Journal of Literature, Culture and Society
Citation: 
Sonia Front, Labyrinth of Time in Wong Kar-Wai’s In the Mood for Love and 2046, Asian Journal of Literature, Culture and Society, 5.1 (2011), 144-155.