Wong

• He brings both Asian sensibility and French New Wave cinematic techniques to each of his stories.
• As with Wong’s other films such as Chungking Express, Days of Being Wild, Happy Together and Fallen Angels, In the Mood for Love dictates the arbitrary nature of romance and the notion of the ‘missed moment’.
• He consistently employs a signature ‘parallelling’ and ‘intersecting’ rhetoric in which his characters arbitrarily cross paths. 
• Wong’s protagonists are most often revealed to be a set of individuals existing within the visual array of urbanity.
• Wong successfully grants introspective gazes at his characters (usually in sets of twos), exploring their insecurities, personal motives and ultimately the random nature of relationships.
• Again, Wong’s arbitrary rhetoric finds expression in the poetic and brightly drenched tones of his unique filmic aesthetic, and his much-loved themes of loneliness, isolation, and longing rise to the surface.
• At this time in 1962, 13 years after Mao and the Communist party’s rise to power in Mainland China, Hong Kong remained a British Colony. However, during the 1960s there was considerable unrest as a result of the wider social and political situation that was existing in the world. The threat of the spread of Communism inspired the Cold War between the Soviet Union and the United States that was to centre heavily on Southeast Asia as a focal point for the competition between the global powers. In addition, the Vietnam War and China’s support for the North Vietnamese Communist regime made the threat of Communism genuine.
• The characters whose identities are inexorably shaped by the past express Wong’s nostalgia for an era passed. 
• The notion of time is a pervading concept in all of Wong’s films. His preoccupation with capturing time is constantly evident, his camera doting on specific moments and intent on finding difference in repetition.
• Wong depicts the transience of life and reveals that nothing is permanent in the worlds he creates. 
• Music is also a prominent and strategic element in all of Wong’s films. Musical repetition is often employed to articulate that which is unsaid or that which cannot be expressed via words and dialogue. 
• Wong finds “creativity in the astute articulation of the pause and rewind modes”, another postmodern emblem of the late 20th century. He effectively employs the functions of fast-forward and pause into his aesthetic repertoire, illustrating the various modes of remote control technology.
• Wong’s story is continual and the narrative as dependent on the context of the present as of the past. 
• A work of nightmarish and self-consciously bombastic beauty, the film 2046 both observes and embodies the very human tendency to magnify memories over time, with the number itself appearing as both a room number and a fantastical location in an imaginary future where nothing changes.
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