Wong Kar-Wai's Absolute Flux of Consciousness

(Supportive writing: https://noticethecut.wordpress.com/2019/05/13/wong-kar-wais-absolute-flux-of-consciousness/)

“Husserl calls the intentionalities that anchor me to my surroundings “protentions” and “retentions.” These do not emanate from a central I, but somehow from my perceptual field itself, which drags along behind itself its horizon of retentions and eats into the future through its protentions. I do not pass through a series of nows whose images I would preserve and that, placed end to end, would form a line. For every moment that arrives, the previous moment suffers a modification: I still hold it in hand, it is still there, and yet it already sinks back, it descends beneath the line of presents. In order to keep hold of it, I must reach across a thin layer of time. It is still clearly the same one, and I have the power of meeting up with it such as it just was, I am not cut off from it; but then again it would not be past if nothing had changed, it begins to appear perspectivally against or to project itself upon my present, whereas just a moment ago it in fact was my present. “ - Maurice Merleau-Ponty, The Phenomenology of Perception p. 439

Films: Days of Being Wild (1991), In the Mood for Love (2000), 2046 (2004)
Music: Yumeji's Theme - Shigeru Umebayashi
Edited by Doğa Çöl

Видео Wong Kar-Wai's Absolute Flux of Consciousness канала Doga Col