Venice Film Festival 2004 - Toronto International Film Festival 2004

Warner Independent Pictures Presents - the full story
E R O S
This film is is rated R for strong sexual content including graphic nudity and for language.
No one under 17 will be admitted to see this film unless accompanied by a parent or adult guardian

Production Notes

THE HAND
WONG KAR WAI

Starring: Gong Li, Chang Chen

EQUILIBRIUM
STEVEN SODERBERGH
Starring: Robert Downey, Jr., Alan Arkin, Ele Keats

THE DANGEROUS THREAD OF THINGS
MICHELANGELO ANTONIONI

Starring: Christopher Buchholz, Regina Nemni, Luisa Ranieri

With interstitial sequences by Lorenzo Mattotti
and the song “Michelangelo Antonioni” by Caetano Veloso

Opening Theatre Information: EROS will open on April 8 in Landmark Theatres in: New York at the Sunshine, Los Angeles at the NuArt, Boston at Kendall Square Cinema 9, Washington DC at the E Street Cinema, Atlanta at the Midtown 8, Chicago at the Century Centre Cinema 7, Seattle at the Varsity 3, St. Louis at the Tivoli 3, San Diego at the Ken, San Francisco at the Lumiere 3 and in Berkeley at Act 2.

Rated: R
Aspect ratio: 1:85/Flat
Sound Format: Quad
Running Times:
The Hand (43 mins, 15 secs),
Equilibrium (26 mins, 35 secs)
The Dangerous Thread of Things (31 mins 46 secs)
Total:  Approx 108 mins

 E R O S

“Eros” is an anthology of three medium length films on the subject of eroticism and desire, from a trio of the world’s most outstanding directors, Wong Kar Wai, Steven Soderbergh, and Michelangelo Antonioni.   Each takes his own unique approach to the theme:  Wong with a richly textured and achingly emotional erotic tale; Soderbergh with a wry and perverse comedy; and Antonioni with his philosophical meditation on the abyss between men and women.  “Eros” is also a homage by two of the most internationally acclaimed young directors Wong Kar Wai and Steven Soderbergh to one of their most admired and inspiring director Michelangelo Antonioni.

Wong Kar Wai’s “The Hand” is the story of a young tailor’s (Chang Chen) long-time unrequited love for a beautiful Hong Kong courtesan (Gong Li).  Over many years, he lovingly crafts the clothes that she wears for other men.  Over time, the seemingly unattainable fantasy woman loses everything, just as the tailor prospers in his career.  Then the unexpected happens…

Steven Soderbergh’s “Equilibrium” is about a stressed-out 1950’s New York advertising man (Robert Downey, Jr.) who has been suffering from a series of recurring erotic dreams.  During his session with psychiatrist Dr. Pearl (Alan Arkin), he describes his dream of a woman who is familiar to him—but he can’t recall who she is when he wakes up.  Through the course of a very offbeat session of therapy, we discover why that is.

Michelangelo Antonioni’s “The Dangerous Thread of Things” follows a fortyish married couple (Christopher Buchholz and Regina Nemni) that no longer have anything to say to one another.  At an impasse, the man has a passionate one night stand with a free-spirited young girl (Luisa Ranieri), but this experience also fails to satisfy him.  Later on, the wife and the girl meet….

“Eros” is a rare movie event—where three of the world’s most celebrated film artists contemplate the never-ending riddles of eroticism and love.
 

E R O S
About the Production

In 1995, Stéphane Tchal Gadjieff  produced Michelangelo Antonioni’s feature film “Beyond the Clouds,” made after the great director suffered a paralytic stroke, which left him partially paralyzed (Wim Wenders was brought in as a standby and as director of the structure that links the four episodes that Antonioni directed).  One of the producers said, “He was an inspiration to me with his strength in his refusal of his limitations.”  “And to see this man do this every day was quite an experience.”

After making the film, the director was unwavering in his wish to continue making films.  Antonioni once said, “Filming for me is living.”

Eventually Stéphane Tchal Gadjieff came up with the idea of doing a trilogy with “eros” as the subject.  Two French producers of note and experience, Raphaël Berdugo and Jacques Bar, and a uniquely creative Italian producer, Domenico Procacci, joined him.  “The concept was to have two major younger directors, who have been on record to say that they have been influenced by his filmmaking, accompany him.  Each would do a segment on the erotic subject of their choice.  Being free to do whatever they wanted.   Also, we wanted Antonioni to tell us near the end of his life what ‘eros’ was to him”, says one of them.

Antonioni quickly agreed.  After discussing possible directors, they set their sights on Wong Kar Wai (“In the Mood for Love,” “Chungking Express”) and Steven Soderbergh (“sex, lies, and videotape”).

The directors immediately approved the project.  At first, the producers thought they would produce all three films, but they soon realized that both of the other directors were also producers with their own production companies.  They worked out a financing plan where the world’s territories would be split between the three groups.   Each would produce his film separately, and then have rights to the full feature in their territories.

Production began with Antonioni’s segment of “Eros”, entitled “The Dangerous Thread of Things.”   A script was written by long-time Antonioni screenwriter Tonino Guerra (“L’Avventura,” “Blowup”), based on three brief vignettes from Antonioni’s book That Bowling Alley on the Tiber: Tales of a Director:  “The Silence,” “Three Days,” and “The Dangerous Thread of Things.”   (Four stories from the book also provided the basis for his film “Beyond the Clouds.”)  Shooting began in late 2001 around Lake Burano, in Tuscany, Italy and went for about six weeks.

Soderbergh’s segment, “Equilibrium,” started shooting in March of 2003 in a Los Angeles studio.   Knowing that the other two filmmakers would be more direct in their approach to the subject, Soderbergh chose a lighter, more elliptical path.  “I liked the idea that what is supposed to be ‘an erotic film’ stars Alan Arkin and Robert Downey, Jr.,” says Soderbergh.

Wong Kar Wai’s film, “The Hand,” starring Gong Li and Chang Chen (“Crouching Tiger, Hidden Dragon”) was shot later that year in Hong Kong and completed in early 2004.  Gong Li said she was very happy to do the film, “not only with Kar Wai, but to be doing a project connected to Antonioni.”

The French producers were also responsible for assembling the interstitial sequences that would link the three parts of “Eros” together.  Tonino Guerra recommended a great Italian artist/illustrator Lorenzo Mattotti, who had illustrated one of his books of poems.  Mattotti works in various styles and he selected three that he felt corresponded to the different director’s films.  These were sent out and soon approved by the filmmakers.

Brazilian singer/songwriter Caetano Veloso, unforgettable for his performance of  “Cucurrucucú paloma” in Almodovar’s “Talk to Her,” contributes his original song “Michelangelo Antonioni” to the film.  The song plays over Lorenzo Mattotti’s images in the linking sequences.
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The producers feel that the subject of “Eros” is a vital one.  “It’s one of Antonioni’s central subjects — communication between a man and a woman.”  “Eros and love—this is something overwhelmingly important for us to reflect on and try to work out.”  We’ve lost the key to each other.”

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E R O S
T H E    H A N D
Filmmakers
Produced, Written & Directed by WONG KAR WAI
Executive Producer CHAN YE CHENG
Producer JACKY PANG YEE WAH
Production Designer/Costumes/Editor WILLIAM CHANG SUK PING
Director of Photography CHRISTOPHER DOYLE
Music PEER RABEN
Production Company JET TONE FILMS
Make-Up KWAN LEE NA
Hairstylists WONG BO CHUEN
BOWER NG YUK HO

Cast
Miss Hua GONG LI
Zhang CHANG CHEN
Master Jin TIN FUNG
Hua’s Servant, Ying AUNTIE LUK
Hua’s lover, Zhao ZHOU JIANJUN
Tailors SHEUNG WING TONG
WONG KIM TAK
TING SIU MAN
YIM LAI FU
SHIH CHENG YOU
SIU WING KONG
LEE KAR FAI
Hotel Concierge UN CHI KEONG

 With Special Thanks to CARINA LAU KA LING

In Mandarin with English subtitles

Filmed in Hong Kong and Macau

E R O S
T H E   H A N D
Director’s Statement

For me the experience of shooting THE HAND was a very intense and intimate one.

We began to work on the project in 2003, during the SARS epidemic. The original plan was to shoot in Shanghai. Owing to the epidemic, it had to be revoked. Because of travel restriction, we could only shoot in Hong Kong and Macau. We shot with a very basic crew as many had decided to leave the inflicted area.

We tried to shoot as fast as we could. The last two days of shooting were done in a continuous 48-hour shift. Each day, we went through our daily ritual of cleansing our hands and putting on masks. Upon the advice of health authorities, we tried to avoid any physical contact with one another. This situation inspired me to make a film about the act of “touch”.

What motivated me to do this film was Michelangelo Antonioni - who had been the guiding light for me as well as filmmakers of my generation. I am deeply honored to have participated in this project. And, I must also thank Ms. Gong Li, Mr. Chang Chen and the rest of the cast and crew for their unrelenting and generous support for the film.  Wong Kar Wai
 

E R O S
T H E    H A N D
Synopsis
 

It’s 1963, a hot summer afternoon. Zhang (Chang Chen), the tailor’s apprentice, is very nervous.  It’s the first time he’s ever been asked to fit a customer by himself.  And the client is one of Master Jin’s most important and demanding—Miss Hua (Gong Li), a famous courtesan.

Taking his seat in Miss Hua’s sumptuous apartment, he is embarrassed to overhear the murmurs of lovemaking.  As the sounds subside and the man departs, Zhang is summoned to Hua’s room.

Zhang can’t help himself—he has become aroused from what he has heard.  Mortified, he stands in the back of her bedroom holding his hands in front of him.  Stunningly beautiful as she lounges in her lace nightdress, Hua tells him, “Stand still…put your hands down.”  Zhang obliges her.

“Take your pants off,” says Miss Hua. “Or I’ll tell your Master.”  Zhang does as he is told.  Miss Hua takes his hand.  Zhang is breathless, nearly ready to faint. “Never touched a woman before, have you?  Then how can you be a tailor?  You’ll be touching many women.”

Miss Hua puts her hand between Zhang’s legs and begins stroking his thighs. “Now listen: your Master is getting old.  He said you have talents. One day you’ll become my tailor.  Remember this feeling and you’ll make me beautiful clothes.”

Miss Hua starts to move her hand.  Zhang is torn between his excitement and his shame.  And then, as suddenly as it has begun, it is over.

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Zhang had many occasions to see Hua in the following years, but she does not mention their initial encounter, or even display any interest in him.  Many times he brings over dresses and is made to wait while she goes about her business.  But he remains fascinated.  Every time he works on a dress, he feels the caress of her hand.

As Zhang’s skills and reputation as a tailor grow, Hua’s career takes a downward turn.  She goes through men faster than dresses.  Often she tries to deceive and exploit her lovers, but ends up doing the most damage to herself.  She is wasting her life and Zhang can only watch helplessly from the sidelines.

Eventually, she falls behind in her accounts and old Jin sends Zhang to collect.  The apartment is the same, but the atmosphere has completely changed.  Hua enters, carrying a stack of dresses and tells Zhang to sell them.  “I can’t take them all with me,” she says.  “Are you going somewhere?” asks Zhang.   Hua turns her head sadly.  “You’ve made me so many dresses and I’ve never thanked you properly. I know you like to drink.”  As they clink glasses, Zhang can barely look at her, knowing her decline.   And when Zhang checks by her apartment sometime later, Hua is no longer there.

Several years go by.  Once again Zhang is called to see Hua, but now she is staying in a seedy, rundown hotel.  Zhang is sad to see what hardship has done to Hua, but he is careful to say that she looks the same.  When she finds out that he still hasn’t found a wife, she asks, “What about me? You don’t think I’m not good enough, do you?”  Zhang readily accepts, but it is soon clear that her offer isn’t serious.  She has summoned Zhang to make a dress to prepare her for a meeting with an old lover from America.  It will be her very last chance.  Zhang says it won’t be necessary to take measurements—he knows her body so well, he can do it with his hands.  As his fingers move slowly down her slender frame, she grasps his hands in hers in hers and cries.

Zhang works hard on the alterations. It’s his first chance to do something that may change the course of Hua’s life—maybe even rescue her from ruin.  Unfortunately, when he returns to her hotel with the dress, he discovers that she is now working as a common streetwalker and has gotten ill.  Desperate to help her, he pays her rent.

The next time Zhang sees Hua she is lying in bed, deathly ill.  He shows her the dress.  “You shouldn’t have come,” she says.  “It’s contagious.”  She tells him that he has made the dress in vain—her patron has left and she is too sick to even try it on.

“Do you remember how we met?” she asks.  Zhang nods.  “And do you remember my hand?  You must have hated me that day.”

“No, I didn’t,” says Zhang.  “I want to thank you.  If it hadn’t been for your hand I wouldn’t have become a tailor.”

“Come closer,” says Hua.  “You’ve always been so good to me and I’ve never repaid you.  I’m afraid I won’t have the chance.  I’ve lost everything.  I used to have this body, but it’s no good anymore.  All that’s left is this pair of hands.  You don’t mind, do you?”

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E R O S
T H E    H A N D

About the Filmmakers

WONG KAR WAI is acknowledged as one of the most exciting and influential directors in contemporary world cinema.  His concerns are typically suppressed desire, isolation, memory, and the loneliness of urban landscapes; his style is dense, moody and lushly atmospheric.
Wong belongs to the mid-1980s Second New Wave of Hong Kong filmmakers, which also includes directors Eddie Fong, Stanley Kwan and Clara Law. The Second Wave, is often seen as a continuation of the First, as many of these directors worked as assistants to First Wave directors such as Tsui Hark, Ann Hui and Patrick Tam (with whom Wong collaborated)

Born in 1958 in Shanghai, Wong moved to Hong Kong with his parents when he was five years old. He became a scriptwriter for TV and later for films in the 1980’s, including “The Final Victory” (1987), which was directed by Patrick Tam. Wong Kar Wai's directorial debut was “As Tears Go By” (1988).  The film, which established Wong's strong visual style, introduced him to the world film community as an up-and-coming talent at the 1989 Cannes International Film Festival.
Wong gathered together Hong Kong's most popular young stars (including Tony Leung Chiu Wai and Maggie Cheung) for his next project, “Days of Being Wild” (1991). The film, set in a vividly imagined 1960, won five Hong Kong Film Awards, including Best Film, Best Director, and Best Actor (Leslie Cheung).
In 1992, he convened another all-star cast of Hong Kong actors to make a period martial-arts drama, one which deliberately went against all the codes of the genre, in remote regions of China. The shoot for “Ashes of Time” lasted nearly two years. The film world-premiered at the 1994 Venice Film Festival, where it won the Award for Best Cinematography for Christopher Doyle.

During a break in the post-production of “Ashes of Time,” Wong made “Chungking Express” (1994), an up-to-the-minute comedy of longing and romance. Tony Leung Chiu Wai, Faye Wong and Brigitte Lin starred in the film, which became a cult hit in many countries. “Fallen Angels,” based on an idea for a sketch that was written for “Chungking Express” but dropped at the last minute, premiered at the 1995 Toronto Film Festival to widespread critical acclaim.

“Happy Together,” about two Chinese gay men exiled in Argentina during the hand-over of Hong Kong to China, was filmed on location (with pick-up shots done in Taipei). The film world-premiered at the 1997 Cannes International Film Festival, where Wong was awarded the Best Director prize.  The film, which starred Tony Leung Chiu Wai and Leslie Cheung, also featured Chang Chen, star of “The Hand.”

“In the Mood for Love,” reuniting Wong with Tony Leung Chiu Wai and Maggie Cheung, was filmed in Hong Kong, Thailand, and at Angkor Wat (in Cambodia). At the 2000 Cannes International Film Festival, the film received awards for Best Actor (Tony Leung Chiu Wai) and its three cinematographers.  It also won prizes for Best Foreign Film and Best Cinematography (Christopher Doyle and Pin Bing Lee) from the New York Film Critics Circle the following year.

Wong next shot the short film, “The Follow,” starring Clive Owen and Mickey Rourke, for the BMW series “The Hire.”  The series also includes shorts by John Woo, Ang Lee, Tony Scott and Alejandro González Iñárritu.   He also directed a video for DJ Shadow called “Six Days,” which featured Chang Chen.

Upcoming for Wong Kar Wai is “2046,” which was shot in various Asian countries with an international cast, including Tony Leung Chiu Wai,  Gong Li, Faye Wong, Takuya Kimura, Zhang Ziyi, Carina Lau Ka Ling, Chang Chen, Thongchai McIntyre and Dong Jie, with a special appearance of Maggie Cheung.

CHAN YE CHENG (executive producer) has served as executive producer of all Wong Kar Wai’s films since “Chungking Express.”

JACKY PANG YEE WAH (producer) has worked as co- producer of all Wong Kar Wai’s films since “Chungking Express”.  She also has co-produced Jeff Lau’s “Chinese Odyssey” and Joe Ma’s “Sound of Colors” with Wong Kar Wai.

WILLIAM CHANG SUK PING (production designer/costumes/editor) has served as production designer on all of his friend Wong Kar Wai’s movies.  In 1994 with “Chungking Express,” he also began editing Wong’s movies.

Born in Shanghai and raised in Hong Kong, Chang is one of the most influential production designers in Hong Kong, with credits on numerous films, videos and advertising campaigns.  His other films include Tsui Hark’s “Zu: Warriors from the Magic Mountain,” “The Blade” and “Butterfly Lovers,” and Stanley Kwan’s “Women,” The Island Tales” and “Lan Yu.”  He was costume designer on Chen Kaige’s “Temptress Moon” and editor on “Zhou Yu’s Train.”

Chang shared the Grand Prize at Cannes in 2000 for his work on “In the Mood for Love.” He has received thirty-three Hong Kong Film Awards nominations has won ten—five for art direction, four for costumes, and one for editing.

Born in Sydney, Australia, CHRISTOPHER DOYLE (director of photography) has photographed all but the first of Wong Kar Wai’s feature films, including “Days of Being Wild,” “Ashes of Time,” “Chungking Express,” “Fallen Angels,” “Happy Together,” “In the Mood for Love” and “2046.”

He has received numerous accolades and awards for his work, including a Grand Prize at Cannes (shared) and Best Cinematography from the New York Film Critics and the National Society of Film Critics for “In the Mood for Love” and a Golden Osella at Venice in 1994 for “Ashes of Time.”  He has been nominated eleven times for Hong Kong Film Awards and has won five times.

A former sailor who speaks Mandarin and French, Doyle began working as a cinematographer in the 1980’s in Hong Kong, France and Taiwan before teaming up with Wong Kar Wai.   His other films include Zhang Yimou’s “Hero,” Phillip Noyce’s “The Quiet American” and “Rabbit-Proof Fence,” John Favreau’s “Made,” Barry Levinson’s “Liberty Heights,” Gus Van Sant’s “Psycho,” Chen Kaige’s “Temptress Moon,” and Edward Yang’s “That Day at the Beach.”

Doyle made his directorial debut in 1999 with “Away with Words,” which he co-wrote with critic Tony Rayns. In 2000, he was the subject of Rick Farquharson’s documentary “Orientations: Chris Doyle—Stirred But Not Shaken.”

PEER RABEN (music) is best known for his long collaboration with the late German director Rainer Werner Fassbinder.  Starting with Fassbinder’s debut, “Love is Colder Than Death” in 1969, Raben composed the scores for such films as” “The American Soldier,” “Beware of a Holy Whore,” “Fox and His Friends,” “Mother Küsters Goes to Heaven,” “Satan’s Brew,” “Chinese Roulette,” “Despair,” “In a Year of 13 Moons,” “The Marriage of Maria Braun,” “Lili Marleen,” “Lola,” “Veronika Voss,” “Querelle,” and many others.  Raben also produced and acted in many of the early Fassbinder films and directed the film “The Blonde with the Sharp Curves,” and the TV movie “Adele Spitzeder.”
 

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