DISC 1:

- Feature Film
- Trailer

DISC 2:

- Original Trailer
- Making of
- Interview with Main Casting
- Unseen Footage
- Photo Gallery
- Theme Music
- Zhang Ziyi Highlights

Hong Kong-based filmmaker Wong Kar-Wai moves back and forth in time as he reexamines and amplifies the themes from his film In the Mood for Love in this offbeat romantic drama.

Opening in the year 2046, in which a man named Tak (Takuya Kimura) attempts to persuades wjw 1967 (Faye Wong) to travel back in time with him, the film soon shifts to the year 1966, in which Chow Mo-wan (Tony Leung Chiu-wai), a struggling author, asks the woman he loves, Su Lizhen (Gong Li) to sail with him from Singapore to Hong Kong on Christmas Eve. She declines, and over the next three years, we return to Chow Mo-wan on December 24 as he finds himself with another woman each year ? lighthearted Lulu (Carina Lau) in 1967, eccentric hotel heiress Wang Jingwen (Faye Wong) in 1968, and Bai Ling (Zhang Ziyi), a high-class prostitute, in 1969. In time, Chow Mo-wan and Wang Jingwen become reacquainted, and a love affair blooms, but the fates are not on their side.

2046 had its world premiere at the 2004 Cannes Film Festival.

A nostalgic and stylized work, worked by time, 2046 subscribes to the aesthetic and thematic continuity of In the Mood for Love, its twin film. The last film by Wong Kar Wai occurs in a vague space, futuristic and retro at the same time, where memories hurl themselves against regrets. The director probes this mental space, crossed by zones of shadows, dreams, and disappointed hopes. All things considered, it explores the imaginary and the memory of its hero, a sci-fi writer who in another time madly loved a woman.

2046 opens on an astonishing, digital sequence in the universe of the filmmaker: a mysterious train takes along travelers in search of their lost memories in 2046, a space/time from which no one returns. Separately, the hero who undertakes the intimate work of recollection. Various women, randomly crossed into a solitary existence, live in the space of his memories. These brief love stories, intense and disillusioned, are reported one by one, forming sedimentary narrative blocks, from mnemonic layers that cross and knock together. The very beautiful heroines of Wong Kar Wai (Zang Ziyi, Gong Li, Faye Wong) play various poles of femininity. Passionate, cerebral or romantic, their presence renders even more striking the absence of the female ideal, hidden and lost forever in the depths of the past and the painful maze of memory. 2046 is a film about solitude and absence, topics that cross, like nebula, in the filmmaker's work.

Maggie Cheung, the sublime heroine of In the Mood for Love, however credited with the credits with 2046, shines with her presence/absence, as much as with the image as with the existence of the principal character. Contaminating all diegetic space, this absolute female lives in an indefinite place where the most personal thoughts of the hero are stored. Perhaps 2046 for the title is good; it's also a hotel room or maybe this is this secret stored in the side of a Cambodian mountain, an episode that intervenes in the epilogue of In the Mood for Love and is told by the hero himself.