An Exploration of Bi Gan’s “Resurrection”: A Love Letter to Cinema
The Birth of a Cinematic Masterpiece
Over 130 years ago, the Lumière brothers premiered their film in Paris, marking the dawn of cinema. What began as a mere photographic supplement quickly turned into a global phenomenon. Since then, countless narratives and genres have been explored, refined, and occasionally exhausted. Amidst this cinematic evolution, it’s particularly remarkable when a director pays homage to their artistic predecessors while simultaneously crafting their distinct voice. Bi Gan’s latest work, “Resurrection,” is not only a tribute to film history but also a breathtaking spectacle that leaves audiences in awe.
A Genre-Defying Journey
“Resurrection,” or “Wilde Zeiten” in its original Chinese title, is an adventurous ride through various genres and times. Like Bi Gan’s previous films, “Kaili Blues” and “Long Day’s Journey into Night,” it defies traditional classification—oscillating between science fiction, historical drama, and romance. It’s a free association of thoughts and concepts that coalesce into a cohesive whole, making it a daunting yet rewarding viewing experience.
Plot Overview: The Fantasmer’s Struggle
At the heart of “Resurrection” lies the character of the Fantasmer, portrayed by Jackson Yee—a grotesquely deformed outcast in a futuristic society where immortality is promised, but at the cost of the ability to dream. Rather than accept this deal, the Fantasmer retreats into a deep sleep induced by opium, setting the stage for his eventual pursuit by his adversary, the “Great Other,” played by Shu Qi. This central conflict encapsulates the film’s exploration of dreams, reality, and the human experience.
Cinema as a Temple of Dreams
Right from the prologue, “Resurrection” establishes itself as a heartfelt homage to cinema. When the Great Other discovers a film projector embedded within the Fantasmer, she compassionately gifts him an additional hundred years of memories through film. This act transforms the cinema into a sanctuary for his dreams, highlighting the redemptive power of the medium.
The film opens with an intense flame scorching through a screen, revealing a curious Chinese audience mesmerized by the spectacle—similar to how we gaze at them. This self-referential approach seems to underline Bi Gan’s belief that he is the rightful steward of this monumental tribute to film.
A Surreal Exploration of Dreams
As the narrative unfolds, the Great Other plunges deeper into the Fantasmer’s dreams, revealing increasingly haunting and abstract landscapes reminiscent of German Expressionist film. Bi Gan’s fondness for this style is evident; he has cited its ability to evoke both fear and dreams as a significant influence on his work. This connection to classic cinema serves as a poignant reminder of how the art form has evolved, influenced by the anxieties and aspirations of its respective eras.
Influences and Aspirations
Bi Gan’s influences are diverse, ranging from David Lynch’s surreal dreamscapes to the Taiwanese New Wave cinema of Hou Hsiao-hsien. Yet, he attributes the most profound inspiration to Andrei Tarkovsky, whose poetic approach to existential themes resonates deeply with him. Bi Gan aims for viewers to experience the film intuitively, igniting reflections on their own existence.
A Spectacle of Long Takes and Emotional Depth
Notable in “Resurrection” is a nearly 40-minute sequence that stands out from the rest of the film. This section showcases a remarkable shift from red to blue, signaling a transition into a new world, and is executed without a single cut—a testament to Bi Gan’s trademark long takes. Such sequences have become emblematic of his filmmaking style, echoing the restless search for identity and emotional connection amidst a rapidly changing landscape.
Cannes Recognition and Legacy
Bi Gan’s “Resurrection” has not only captivated audiences but also garnered critical acclaim, winning the Jury’s Special Prize at the 2025 Cannes Film Festival. The film embodies a masterful blend of visual storytelling, emotional resonance, and cultural commentary. It challenges viewers to navigate its intricate layers, revealing insights about the human condition.
As we watch the Fantasmer traverse through the epochs of Chinese history, we are reminded of the film’s heart-wrenching and reconciling qualities. Perhaps, generations from now, we will look back at this work as a pivotal moment in film history—an ambitious dream brought to life by Bi Gan’s unwavering vision.
