Wong’s 2046 is an erotic movie, so do Wong’s previous shots such as “in the mood of love.” I haven’t seen the “2046” and probably will never see it. It is not of my taste (including the type of women in the movie).

In fact, I don’t need to see the movie to know what will happen in it. Wong’s movies always start with a sluggish man who claims himself some sort of past celebrity, lodges in a dirty place, and is surrounded by sexually unsatisfied women. Sure, those women are call girls, rebellious ladies, or husband-on-leave. But it doesn’t matter. Sex is the major theme in these movies. The sexual activities will be silent, lewd, but masked. You can see legs but no butts. Note: it is said that Ziyi Zhang, who has determined to become the sexist movie star ever, will demonstrate some fancy sexual techniques in the movie.

In addition, the rooms in the movie are half-dim-half-bright, and the walls must be painted by mentally disabled people. The camera keeps moving and cycling which makes you feel dizzy. If people think this kind stuff is romantic, then they are too naïve.

The most pathetic characteristic in Wong’s movies is that they depict women as completely sex-driven vixens. But the miovies are actually representing the dirty lives of irresponsible men. Love in Wong’s movies–if those activities are from love– develops during the sex, and ends with the sex. The whole point of Wong’s movies is sex: how it starts, and how it ends.

So why do people like Wong’s movies? It troubles me a lot. I can’t help thinking that the main reason for their popularity lies in people’s lust for the type of Asian women depicted in the movies. People believe that there exists a strong hidden sexual desire inside every seemingly innocent body, especially among Asian women, given their frail lookings. Wong’s movies try to prove this hypothesis and here you go—he did it again.