BEIJING, February 29, 2025 – At 36, Chinese filmmaker Bi Gan is already something of a cinematic outlier, crafting films with a maturity that belies his age. His latest work, “Resurrection,” is a formally audacious attempt to capture the entire history of cinema, delivering a mesmerizing, if structurally perplexing, odyssey through a century of moviemaking.
A Dream of Cinema: Bi Gan’s ‘resurrection’ Defies convention
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Bi Gan’s “Resurrection” isn’t just a film; it’s an experience, a meditation on the very nature of cinema and its relationship to reality.
- Gan’s film explores the idea of immortality through the suppression of dreams in a not-so-distant alternate reality.
- “resurrection” is packed with references to classic films, from Georges Méliès to Wong Kar-Wai.
- The film features a remarkable 30-minute long take, a signature element of Gan’s style.
The film begins in 1895. upon discovering the Deliriant – who bears a striking resemblance to Max Schreck’s character in “Nosferatu” (1922) – she sends him on a 100-year journey through the history of cinema.
A Fragmented Narrative, Rich in Style
What follows is a series of four distinct vignettes, each highly stylized and connected by recurring motifs: clocks, flames, and mirrors. One segment features Tai Zhaomei (Li Gengxi), a character also central to Gan’s previous film, “Long Day’s journey.” The film is held together by loose associations, Qi’s narrations acting as quasi-title cards, and a thematic connection to the five senses.However, “Resurrection” is most effective when experienced rather than analyzed.
Gan, collaborating once again with cinematographer Dong Jingsong (who also worked on “Long Day’s Journey”), crafts imagery that demands attention. The phrase “every frame a painting” feels especially apt here. the film delves into the question of how cinema has shaped our perception of reality – and vice versa – presenting a world defined by genre conventions rather than realism,a stark contrast to the hyperrealistic landscapes of “kaili Blues.”
Gan effortlessly reconstructs classic cinematic styles, from the shadow-tinged noir of the first vignette to the neon-lit thrillers reminiscent of Wong Kar-Wai’s “2046” (2004).He demonstrates an impressive ability to blend genres without sacrificing tone or intention.
A 30-Minute Take and a Bold Vision
“Resurrection” is punctuated by aspiring cinematic choices, most notably a 30-minute long take in its fourth section. Having previously included oners lasting 41 and 59 minutes in his earlier films, Gan’s penchant for extended takes is well-established. This particular shot, winding through the streets on New Year’s Eve 1999, serves as a climactic crescendo, a feat few filmmakers attempt, let alone achieve.
While not a film for those seeking easy entertainment – “One Battle After Another” (2025) is currently streaming for a more accessible viewing experience – “Resurrection” offers a singular cinematic experience for dreamers, film buffs, and anyone willing to embrace its challenges. It doesn’t simply look to the past; it envisions a brave future for the medium.
