Johannes Binotto: music, crystal, memory

In Wong Kar-Wai’s 2046 the use of music from other sources, and from François Truffaut’s VIVEMENT DIMANCHE in particular, becomes an additional layer to its multi-layered images and narrative.
By musical cue one film gets into an intimate conversation with another. Their themes, topics, and obsessions embrace, merge and melt. And one director at the height of his career caresses the other who makes his final film.

Time is folded into two. Sound and image crystallize.