My Blueberry Nights

480_blueberry.jpg

Skeptical viewers may suspect, with some reason,

that Wong Kar Wai has been making the same movie for a number of

years now – their subjects include displacement across time

and space, romantic yearning, color and light, loneliness and

reverie. When he changes up the formula, let’s say by making his

lovers two men (Happy Together) or by goosing the ennui with lavish

science-fiction inserts (2046), it only seems to intensify the

familiar feelings of gentle anxiety and punch-drunk desire. “We love what we

can’t have, and we can’t have what we love,” Wong once told an

interviewer, and over and over his films seem to find new approaches

to that same disconnect, traveling roads that wind through familiar

surroundings but offer a slightly different view of the landscape.

Continue reading