Chacun son Cinéma: the Vignette of Wong Kar-Wai

Chacun son Cinéma: Wong Kar-Wai has a sense of the red pairing Almodóvar. The role is, I think, different: at Almodóvar the red is one of the personages, it participates to the story, it gives its replicas; at Wong Kar-Wai the red is an amplifier, or maybe a catalyst; the feelings are amplified by the red to the just note.

I think no one depicts erotic desire with such poignancy as Wong Kar-Wai does. Think at The Hand, his vignette from Eros. Actually you will not get it with his vignette from Chacun son Cinéma if you haven't watched The Hand. It is a variation here: somehow the same personages (though the interprets are different), playing just another notes in the infinite erotic gamma. A man is watching an erotic movie, closing his eyes, remembering his own erotic past, or desiring the woman on the screen, or projecting what's on the screen in his future, or... Who knows? The only thing that's clear is the painful desire.

And Almodóvar comes again in mind: the same ambiguity, the same dreamy world, the same play over the border of perversity, the same madness. It is our madness, it is our desire, it is our pain: we are the ones walking through the movies of Wang Kar-Wai or Almodóvar.

(video by Artur Renzo)

(Chacun son Cinéma)