Wong Kar-wai, n.1959 la Sanhai, China continentala.
Emigrat in Hong Kong, impreuna cu familia, la varsta de 5 ani
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O iubire imposibila (2000)
Fa yeung nin wah (original title)
In the Mood for Love
Synopsis
Hong Kong, 1962. M. Chow, rédacteur en chef d'un journal local, et Mme Chan, secrétaire de M. Ho, emménagent avec leur conjoint, le même jour, dans des appartements voisins, le premier chez M. Koo et la seconde chez Mme Suen. La femme de M. Chow est souvent absente et le mari de Mme Chan est fréquemment parti à l'étranger. Très vite, ils vont comprendre que leurs conjoints respectifs entretiennent une relation amoureuse adultère en secret. Ensemble, M. Chow et Mme Chan vont tenter de saisir les éléments de la rencontre des deux amants et surtout la façon dont est né cet adultère. Mais l'amitié débouche rapidement sur d'autres sentiments.
Musique
Yumeji's Theme de Shigeru Umebayashi (repris de la bande-son du film Yumeji (en) de Seijun Suzuki)
Angkor Wat Theme de Michael Galasso
Te Quiero, Dijiste de Nat King Cole
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Initialement, le film devait s'intituler Beijing Summer mais ce titre a été abandonné en cours de tournage1
À l'origine, le film devait raconter trois histoires centrées sur la nourriture et son impact sur les relations amoureuses. La première, qui prendra des proportions telles qu'elle éclipsera les deux autres et deviendra In the Mood for Love, était consacrée à la « révolution » introduite par l'autocuiseur (l'appareil revient d'ailleurs plusieurs fois dans le film), qui a libéré la femme asiatique ; la seconde concernait l'apparition des soupes de nouilles pré-cuites, associées à une restriction de cette même liberté (on en trouve une trace a contrario dans In the Mood for Love : Mme Chan peut encore sortir de son appartement pour aller chercher à manger dans un restaurant de nouilles… où elle croise Mr. Chow) ; la troisième étudiait les conséquences du succès du fast-food, associé au développement du « fast-love »…[réf. nécessaire]
Pour l'anecdote, il faut savoir que le réalisateur avait deux projets de scénarios, l'un où les deux personnages devenaient effectivement amants à la fin du film et l'autre, qui est la version visible, où rien n'est dit explicitement. Comme toutes les scènes de fin ont été tournées avant les scènes de début, les acteurs ne savaient pas en tournant celles-ci la conclusion qui serait retenue au montage. Ce point augmente donc l'ambiguïté de leurs attitudes et les rapproche du monde réel où personne ne connaît son destin avec certitude.
Bien que la caméra et le décor confinent M. Chow et Mme Chan dans l'espace inévitablement étroit des appartements et des bureaux de Hong Kong, la date de 1962 correspond aux émeutes fomentées dans la colonie par la Chine contre les autorités britanniques de tutelle. C'est un moment de crise pour le territoire, soumis à deux autorités extérieures et qui mettent en question son identité et son devenir.
La dernière partie du film se passe à Angkor. Elle commence par un bref document en français montrant l'arrivée du général De Gaulle à Phnom Penh en septembre 1966 et sa réception par le Prince Norodom Sihanouk juste avant le discours de Phnom Penh.
Le titre du film en cantonais (Fa yeung nin wa) ne signifie pas In the Mood for Love (« D'humeur amoureuse ») mais bien « Le temps des fleurs », le titre d'une chanson de Zhou Xuan (Chow Hsuan), célèbre chanteuse de Shanghai des années trente. La chanson était, dans le film, commandée à la radio par M. Chan pour l'anniversaire de son épouse.
Le maquillage et la coiffure de Maggie Cheung prenaient une moyenne de cinq heures de préparation par jour.
Le tournage dura 15 mois.
2046, la chambre où les deux amants se retrouvent, sera également le titre du film que sortira Wong Kar-Wai en 2004.
En août 2016, la BBC publie une liste des « 100 meilleurs films du siècle » (depuis 2000) réalisée suivant les réponses de 177 critiques de cinéma du monde entier. In the Mood for Love obtient la deuxième place derrière Mulholland Drive de David Lynch (2001) et devant There Will Be Blood de Paul Thomas Anderson (2007)
Aquellos ojos verdes (es) de Nat King Cole
Quizás, quizás, quizás de Nat King Cole
Hua Yang De Nian Hua de Zhou Xuan
Le célèbre Yumeji's Theme (en) de Shigeru Umebayashi est notamment réutilisé dans les musiques additionnelles de 99 francs de Jan Kounen.
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Acteurs principaux
Tony Leung Chiu-wai (VF : Franck Capillery) : M. Chow
Maggie Cheung (VF : Catherine Hamilty) : Mme Chan
==============================================================
Wong Kar-wai.
2046 (film)
From Wikipedia, the free encyclopedia
2046 is a 2004 Hong Kong romantic drama film written and directed by Wong Kar-wai. It is a loose sequel to Wong's films Days of Being Wild (1990) and In the Mood for Love (2000). It follows the aftermath of Chow Mo-wan's unconsummated affair with Su Li-zhen in 1960s Hong Kong but also includes some science fiction elements and makes frequent references to the date of 24 December or Christmas Eve, on which many significant events in the film occur.
Plot
The film is the third chapter of a shared story that began with Days of Being Wild and continued with In the Mood for Love.
There are four main story arcs to the film. Three are about the relations of Chow with women that he meets after losing Su Li-zhen. The first concerns Chow and Wang Jing-wen, the second is about Chow and Bai Ling, and the third is about Chow and a different woman who is also named Su Li-zhen. The fourth takes place in Chow's mysterious world of 2046 and concerns a Japanese passenger falling in love with a gynoid. Typical of Wong Kar-wai films, the arcs are presented in pieces and in non-chronological order.
The approximate order of the arcs is listed below.
2046 arc part I
This section is the only part narrated by Chow's fictional character and not Chow himself. Set in the far future, a huge rail network connects the planet. The world is a vast dystopia, and lonely souls all try to reach a mysterious place called 2046 in order to recapture lost loves. In the world of 2046 nothing ever changes, so there is never loss or sadness. No one has ever returned from 2046 except the protagonist, a lonely Japanese man named Tak (played by Takuya Kimura). As the story begins, Tak is on a long train ride returning from 2046.
"All Memories Are Traces of Tears"
As Chow Mo-wan's life is revisited, we learn that he is still struggling to get over the loss of his idealised love, Su Li-zhen. He returns to Hong Kong after being in Singapore for a number of years to try to forget his anguish. To cover up his pain, he becomes a suave ladies' man. Chow attends many lavish parties and beds many women.
On Christmas Eve, Chow meets Lulu from the first film (Days of Being
Wild) whom he remembers from Singapore, although she has no recollection of
him. That night, Chow Mo-wan takes Lulu home as she is quite drunk, but
accidentally keeps her room key. As he leaves, he notices that her room number
is 2046, the same room number that he and Su Li-zhen had during their emotional
affair. Upon returning a few days later to return the room key, the landlord
informs Chow that the room is not available due to renovations. The landlord
offers him the adjacent room 2047. Chow later learns that Lulu was stabbed in
the room the night before by a jealous boyfriend.
Chow agrees to rent room 2047 in the meantime. After the renovation of
room 2046 is complete, the landlord asks Chow if he wants to move in. However,
by this time he has gotten used to room 2047 and decides to stay there. The
rooms 2046 and 2047 are connected by a common hallway, Chow regularly watches
and gets involved with the people that move into 2046.
Wang Jing-wen and Wang Jie-wen arc part I
The first person that moves next door into 2046 is the landlord's
daughter, Wang Jing-wen (played by Faye Wong). Chow spends a good deal of time
just observing her from his room. He learns that she has a Japanese boyfriend
working in Hong Kong. The relationship is forbidden by her father. Eventually,
Wang breaks up with her boyfriend, then suffers a breakdown and is
institutionalised. Afterwards, the next tenant that moves into 2046 is the
younger daughter of the landlord, Wang Jie-wen. She is young, attractive, and
flirtatious. She frequently tries to seduce him but he refuses each time.
A short time later, Chow runs into some financial difficulties, and
stops going out. To make some extra money, he starts to write a science fiction
series called 2046. The story is set in the distant future, about a group of
heart sick individuals looking for love. The only place to find it is at a
mysterious location called 2046. Virtually all of the characters in 2046 are
based on people that Chow has met, such as Su Li-zhen, Lulu, or Wang Jing-wen.
Whether 2046 is a place, a room, or a state of mind is never explicitly
defined. Chow makes the story somewhat bizarre and erotic, and readers seem to
take notice.
Bai Ling arc part I
The third person to move into room 2046 is the coquettish Bai Ling
(Zhang Ziyi). She wears similar qipao dresses as the original Su Li-zhen but
radiates a much more aggressive sensuality than her. While it is never
explicitly stated in the film, it is implied that she is a nightclub girl who
occasionally doubles as a high-class prostitute. However, she is intent on
finding a long-term relationship. In one instance, when Chow overhears her
arguing with a man, Bai tells the man that to continue seeing her, he must end
his relationship with the other woman. Chow again spends a lot of time
observing her across the thin wall separating rooms 2046 and 2047.
On the next Christmas Eve, Bai runs into Chow just after she is dumped
by her boyfriend before they are to go to Singapore. Chow suggests that they go
for dinner, to which she grudgingly accepts. During dinner, Chow tells Bai
about his experiences in Singapore. She is intrigued, and after dinner she
agrees to try to form a platonic friendship with him by borrowing time from
each other. Their brief friendship does not last however, as they soon develop
carnal lust for each other. Not surprisingly, Chow wants to keep the
relationship strictly physical; he continues to pick up other prostitutes. To
compromise, Bai soon develops a compensation system where he pays her 10 Hong
Kong dollars (a trivial sum) each time he stays over. However, over time Bai
finds that she has feelings for Chow, and she asks him to discontinue seeing
other women. Chow refuses and gives a counter offer, the option to be his
customer for $10 each night. Bai is crushed and breaks things off with Chow. As
a way of revenge, Bai then descends into seeing men exclusively for money,
frequently changing partners. A short while later, she moves out of Room 2046.
Wang Jing-wen part II
After Bai Ling moves out, Wang Jing-wen moves back into 2046 after
returning from the mental hospital. She is a shell of a former self, and still
very depressed over the loss of her Japanese boyfriend. Her ex writes numerous
letters in an attempt to reconcile with her, but she refuses due to her father.
Wang passes the time by assisting her father at the hotel. She also
starts to spend more and more time with Chow helping him with his writing and
editing. At this point, he is regularly publishing chapters of 2046. These
scenes are very similar to those in In the Mood for Love when Su Li-zhen used
to help Chow with his writing in their hotel room. Chow remarks that this
period in his life is the happiest that he has been after Su Li-zhen. However,
before he realises it, he develops feelings for Wang Jing-wen. He makes some
minor attempts to start a romance with her, but nothing develops since she is
still very much in love with the Japanese man.
One day Wang Jing-wen asks Chow rhetorically if some things in life never
change. He answers her by writing a story called 2047. In this story, a
Japanese man leaves the world of 2046, but falls in love on the journey home.
While he initially tried to base the story on Wang Jing-wen's ex-boyfriend, he
realises that the story is ultimately about himself.
2047 arc part II
Chow's fictional world is revisited. However, this time it is narrated
by Chow himself. Set in the far future, for passengers to reach or leave 2046
they must take a long journey on a vast train network. The main character, Tak
(who is portrayed by Wang Jing-wen's Japanese boyfriend) is trying to leave
2046 because he lost the love of his life in that world. As the train travels
through the extremely cold sections 1224–1225, Tak becomes intimate with one of
the train's gynoid assistants (played by Faye Wong) and later falls in love
with her. He then asks her numerous times to come with him. However, each time
the gynoid does not answer. Tak has heard earlier that excessive operation
causes the gynoid's response time to slow down and decides to wait on the train
to see if this is the case. He sits quietly on the train, and counts the
seconds that go by, hoping the gynoid will decide to leave with him. However,
the gynoid still does not respond. Ultimately, Tak realises that it is not a
delayed reaction that causes that gynoid not to respond, but that she is in
love with someone else and that their relationship is simply not meant to be.
With this knowledge, he finally has the strength to leave the train and 2046. Completing
the story marks a turning point in Chow's recovery.
Wang Jing-wen part III
Next Christmas, Chow invites Wang Jing-wen out to dinner. After
finding out that she still misses her ex in Japan, he takes her to his office
so that she can call him to wish him well. Looking sadly through the window
panes as Wang Jing-wen is overjoyed talking to her ex, Chow remarks that in
fact Section 1224-1225 from the story are simply the dates for Christmas Eve
and Christmas Day when everyone is especially lonely and needs additional love.
He goes on to say that while he had feelings for her, and most likely could
have taken advantage of the situation (as he did the previous year with Bai
Ling) he was happy that in this situation he did the "right thing".
The call re-ignites the romance. Soon afterward, Wang Jing-wen moves to Japan
and gets engaged.
A short while later, while still feeling depressed over the loss of
Wang Jing-wen, Chow runs into Lulu again as she has a violent confrontation
with another woman that is sleeping with her current playboy boyfriend. This
incident is identical to one that occurred in the original Days of Being Wild
when she confronted the original Su Li-zhen for sleeping with Yuddy. Chow
remarks that Lulu, is likely to forever remain living in the past. However, he
then remarks that this is not really a sad thing, as she seems perfectly
content to be miserable. The incident strengthens Chow's resolve to get over Su
Li-zhen.
Bai Ling arc part II
Some time later, Chow gets a call from Bai Ling and the two go out to
dinner. This time, Bai looks much less glamorous and more "run-down".
She informs Chow that she plans to leave for Singapore, and asks him to provide
a reference and plane fare. She also asks where he was last Christmas, as she
stopped by at that time, and was hoping to see him. In fact, she remarks that
she really misses him. It turns out, during last Christmas, Chow had gone back
to Singapore in an attempt to find a former lover, another woman named Su
Li-zhen (played by Gong Li).
Su Li-Zhen Arc
Chronologically, this arc occurs first in the film. Chow met the
second Su Li-zhen some years back when he first arrived in Singapore. At that
time, he was still grieving over losing the original Su Li-zhen and spending
much of his free time in the local casinos. After losing much of his savings,
he encounters the second Su Li-zhen, a mysterious gambler. They become lovers,
and he soon wants to know everything about her. But she insists that he beat
her in a "high-card" draw before she will reveal anything about her
past, which he never is able to do. Eventually, she agrees to help him win back
his money so that he can return to Hong Kong. When she does so, he prepares to
leave, and asks her to go with him. Again, she challenges him to a high-card
draw, which he again loses. Knowing little about her, Chow speculates that she,
like himself, has a troubled past.
Initially heartbroken about this, he remarks that after he completes
the story '2047' he finally understands why the second Su Li-zhen did not go
with him, as he would again have tried to recapture the past by looking for
elements of the original Su Li-zhen. When Chow went back to Singapore to visit
her the second time, he does not find her. He makes some inquiries as to her
whereabouts and speculates that she either returned to Cambodia or was killed.
Bai Ling arc part III
Shortly after the events of 'Bai Ling arc part II' and the night
before she boards a plane for Singapore, Chow again meets Bai Ling for dinner.
Bai remarks that, between their two meetings, one of her clients has given her
a lot of money and she wants to pay Chow back immediately. He refuses to take
the money. Bai insists on paying for dinner, and Chow is stunned when she hands
him a stack of money, each $10 bill representing one night they had spent
together. Bai tells Chow to pay for dinner with this stack of bills, while
unbeknownst to him, she sadly watches behind the restaurant's green window
veils.
After dinner, Chow walks her back to her apartment. Grasping his hands
at the apartment door, she begs him to lend his time to her once more and spend
the night. She then asks him "Why can't it be like it was before?" He
refuses to stay over, even out of pity, coldly stating that that is simply
something he would never lend. He exits by jerking his hands away from her and
remarks in voiceover that this was the last time he ever saw her. He leaves in
a taxi, staring emptily into space, as the camera slowly enters a whispering
hole.
Cast
Tony Leung Chiu-Wai as Chow Mo-wan, the main character and narrator. A
journalist and writer, he is the same character, played by the same actor, as
in In the Mood for Love. He also appears in a silent cameo at the very end of
Days of Being Wild.
Maggie Cheung as Su Li-zhen, the woman Chow Mo-wan loved most. She
appears only in flashback. See In the Mood for Love.
Gong Li as Another Su Li-zhen. Presented as a "professional
gambler" and nicknamed "Black Spider", she said that she was
from Phnom Penh. Chow Mo-wan met her in Singapore.
Wang Sum as
Mr. Wang, the hotel owner. He had taken singing lessons in Harbin,
China.
The captain of the train to (or from) 2046.
Faye Wong's character is named "Wang Jing-wen" (Chinese: 王靖雯;
pinyin: Wáng Jìngwén; Jyutping: Wong4 Zing6 Man4), incidentally identical to
her stage name from 1989 to 1994.
Faye Wong as
Wang Jing-wen, the first daughter of Mr. Wang, the hotel owner. She
was in love with a Japanese man, a relationship that her father opposed
strongly.
A Gynoid in the train to (or from) 2046.
Takuya Kimura as
A Japanese man, sent to Hong Kong for a while by his company. He is
Wang Jing Wen's boyfriend.
Tak, a passenger of the train to (or from) 2046.
Dong Jie as Wang Jie-wen. The second daughter of Mr. Wang, the hotel
owner.
Carina Lau as
Mimi/Lulu. See Days of Being Wild.
A gynoid in the train to (or from) 2046.
Title
2046 is the number of the hotel room in In the Mood for Love in which
Tony Leung Chiu-wai and Maggie Cheung's characters meet to write their kung fu
novel serial. It is the number of a hotel room occupied by Lulu, and later by
Bai Ling at the Oriental Hotel, while Tony Leung's room number is 2047.
The main character (Tony Leung) writes science fiction stories, in
which 2046 is a popular year and place to which people travel through time. The
stories are titled 2046 and later 2047 (a collaboration with Faye Wong's
character).
The year 2046 has its own significance for Hong Kong. It is 49 years
after the handover of Hong Kong by the British on 1 July 1997. At the time of
handover, the Mainland government promised fifty years of self-regulation for
the former British colony. The year 2046 references the moment before Hong
Kong's special, self-regulated status ends.[4]
The title may also be a reference to the Twilight Zone episode
"The Lonely", about a man sentenced to solitary confinement on a
distant asteroid beginning in the year 2046. The isolated inmate falls in love
with a gynoid that was delivered to keep him company. This plot structure
parallels some of the science fiction motifs in Wong's 2046.
Critical reception
On review aggregator Rotten Tomatoes, the film has an approval rating
of 84%, based on 119 reviews, with an average rating of 7.44/10. The website's
critical consensus reads, "Director Wong Kar-Wai has created in 2046
another visually stunning, atmospheric, and melancholy movie about unrequited
love and loneliness."[5]
One of the most positive reviews came from Manohla Dargis in The New
York Times, who called the film "an unqualified triumph", and praised
Zhang Ziyi's performance, saying: "Ms. Zhang's shockingly intense
performance burns a hole in the film that gives everything, including all the
other relationships, a sense of terrific urgency." Dargis also describes
the film:
"Routinely criticized for his weak narratives, Mr. Wong is one of
the few filmmakers working in commercial cinema who refuse to be enslaved by
traditional storytelling. He isn't the first and certainly not the only one to
pry cinema from the grip of classical narrative, to take a pickax to the usual
three-act architecture (or at least shake the foundation), while also
dispatching with the art-deadening requirements (redemption, closure, ad
nauseam) that have turned much of Big Hollywood into a creative dead zone. Like
some avant-garde filmmakers and like his contemporary, Hou Hsiao-hsien of
Taiwan, among precious few others these days, Mr. Wong makes movies, still a
young art, that create meaning through visual images, not just words." [2]
In Premiere, Glenn Kenny gave the film four stars and ranked it as one
of the ten best films of 2005:
"Insanely evocative '60s-style landscapes and settings share
screen space with claustrophobic futuristic CGI metropolises; everyone smokes
and drinks too much; musical themes repeat as characters get stuck in their own
self-defeating modes of eternal return. A puzzle, a valentine, a sacred hymn to
beauty, particularly that of Ziyi Zhang, almost preternaturally gorgeous and
delivering an ineffable performance, and a cynical shrug of the shoulders at
the damned impermanence of it all, 2046 is a movie to live in."[6]
Said Ty Burr of The Boston Globe:
"Is it worth the challenge? Of course it is. Wong stands as the
leading heir to the great directors of post-WWII Europe: His work combines the
playfulness and disenchantment of Godard, the visual fantasias of Fellini, the
chic existentialism of Antonioni, and Bergman's brooding uncertainties. In this
film, he drills further into an obsession with memory, time, and longing than may
even be good for him, and his world reflects and refracts our own more than may
be comfortable for us. Love hurts in 2046, but it's the only way anybody knows
they're alive."[7]
Daniel Eagan of Film Journal International:
"it's clear his [Wong Kar-wai] skills and interests have no match
in today's cinema. Whatever his motives, Wong has assembled a remarkable team
for this film. The cinematography, production design and editing combine for a
mood of utter languor and decadence. Leung Chiu-wai continues his string of
outstanding roles, while pop singer Wong achieves a gravity missing from her
earlier work...it's Zhang who is the real surprise here...her performance puts
her on a level with the world's best actresses."[8]
One of the less enthusiastic reviews came from Roger Ebert who, in the
Chicago Sun-Times, gave the film a midly-negative 2½ stars out of a possible
four and a "marginal thumbs down" on the television show Ebert &
Roeper.
"2046 arrived at the last minute at Cannes 2003, after missing
its earlier screenings; the final reel reportedly arrived at the airport almost
as the first was being shown. It was said to be unfinished, and indeed there
were skeletal special effects that now appear in final form, but perhaps it was
never really finished in his mind. Perhaps he would have appreciated the luxury
that Woody Allen had with Crimes and Misdemeanors; he looked at the first cut
of the film, threw out the first act, called the actors back and reshot,
focusing on what turned out to be the central story. Watching 2046, I wonder
what it could possibly mean to anyone not familiar with Wong's work and style.
Unlike In the Mood for Love, it is not a self-contained film, although it's
certainly a lovely meander."[9]
Box office & Distribution
2046 opened in North America on 5 August 2005, where it grossed
US$113,074 on four screens ($28,268 average).[11] In Wong Kar-wai's home
country of Hong Kong, 2046 earned a total of US$778,138.[12] It went on to
gross a total of $1,444,588 in North America,[1] playing at 61 venues at its
widest release.[11] Its total worldwide box office gross is US$19,271,312.[1]
Sony Pictures Home Entertainment released the film on DVD on 26
December 2005. Since then, it has yet to be re-released or restored in the
United States. A region free Blu-ray was released by EOS Entertainment on 17
September 2014 in South Korea, as part of a Wong Kar Wai boxset.
Accolades
In April 2004, the film was nominated for the Golden Palm at the 2004
Cannes Film Festival.[13]
In November 2004, it won awards for Best Art Direction and Best Original Film Score at the Golden Horse Film Festival in Taiwan. The same year, it also won the European Film Award for Best Non-European Film, the Best Foreign Language Film award at the San Sebastián International Film Festival, and was voted Best Foreign Language Film by the New York Film Critics Circle, while taking second place at the Boston Society of Film Critics and Los Angeles Film Critics Association Awards in the same category.
In March 2005, it was nominated in numerous categories at the Hong
Kong Film Awards, winning Best Actor (Tony Leung), Best Actress (Zhang Ziyi),
Best Cinematography (Christopher Doyle), Best Costume Design and Make-Up, Best
Art Direction, and Best Original Film Score (Shigeru Umebayashi).
Music
Original music:[14]
Shigeru Umebayashi – "2046 Main Theme" (scenes 5, 15 and closing credits), "2046 Main Theme (Rumba Version)" (scene 25), "Interlude I" (scenes 29, 38), "Polonaise" (scenes 37, 43), "Lost", "Long Journey" (Scenes 40–41), "Interlude II" (Scene 30), "2046 Main Theme" (With Percussion, Train Remix)
Adopted music:[14]
Peer Raben – "Dark Chariot" (Scenes 7–9, 12–13) from Rainer
Werner Fassbinder's Querelle (1982) and "Sisyphos at Work" (Scene 4)
from Fassbinder's film The Third Generation (1979)
Xavier Cugat – "Siboney" (scenes 6 (instrumental), 17, 19,
24), "Perfidia" (scenes 10, 39)
Dean Martin – "Sway" (scene 18)
Georges Delerue – "Julien et Barbara" from François
Truffaut's Vivement Dimanche! (1983) (scenes 21–23, 42)
Connie Francis – "Siboney"
Vincenzo Bellini and Felice Romani – "Casta Diva" from
Bellini's Norma, performed by Angela Gheorghiu and the London Symphony
Orchestra, directed by Evelino Pidò – recorded in 2000 (scenes 11, 14, 28, 36)
and Bellini's Il pirata (scenes 16, 26)
Zbigniew Preisner – "Decision" from Thou shalt not kill,
part 5 of Krzysztof Kieślowski's The Decalogue
Secret Garden – "Adagio" with David Agnew (cor anglais)
(scenes 3, 27, 31, 34)
Nat King Cole and the Nat King Cole Trio – "The Christmas Song" (1946 version with strings) (scenes 20, 35)
