‘Resurrection’ Review: Director Bi Gan’s Beguiling, Beautifully Realized Journey Through the Life, Death and Possible Rebirth of Cinema

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Among the boldest young filmmakers currently active, 35-year-old Chinese director Bi Gan creates movies that don’t so much draw you in as they gently permeate your senses. Characterized by a delicate melancholy and brimming with challenging technical feats, particularly his signature, logistics-defying long shots, his films are thoughtful ruminations on nostalgia and loss, where cinema often takes on a life of its own.

In his captivating film titled Resurrection, Bi Gan weaves a narrative that explores the roles of movies as both subject and object, spanning a century-long cinematic journey from the silent era to the end of the last century. Pondering upon the evolution, current state, and potential future of filmmaking at a time when some consider it near its end, Bi Gan constructs a time-traveling, genre-blending ode to the grandeur of cinema. In this work, he reawakens the films that hold a special place in his heart, only to bury them again – possibly aiming to breathe new life into cinema itself.

This 156-minute film is perfectly suited for viewers who long to step into a Criterion Collection-like setting. However, it’s not the typical art-house movie that mainstream audiences might expect to see an upcoming Academy Award contender in. Instead, it offers a thought-provoking viewing experience that showcases Bi Gan’s unique perspective on cinema, which seems to be largely a reflection on its potential decline.

A phantasmagorical story, divided into five extensive chapters with an epilogue added at the end, revolves around themes of death and dreams. Each chapter is narrated in a unique style reflective of its respective era. The narrative’s continuity is subtly woven by author Bi through a whimsical concept: In an alternate reality that mirrors our own, people no longer dream, granting them immortality. Those who choose to keep dreaming are called “Fantasmers,” living vibrant but brief lives. Meanwhile, there are the “Awakeners,” whose role is to rouse the Fantasmers from their dreamlike stupors.

Does the concept of Resurrection become clearer to you? Regrettably, plot and plausibility may take a backseat, but they are overshadowed by the immersive qualities that this work presents. The filmmaker invites us into his fantastical realm in an initial segment, which is staged within the silent movie era and employs intertitles for narration. Here, The Other One, portrayed by Shu Qi of numerous Hou Hsiao-Hsien films, hunts a creature resembling Nosferatu (Jackson Yee) across a carousel of film studio backdrops reminiscent of the German Expressionist period.

It’s not necessary to be well-versed in movie history to follow what Bi is doing in that scene, but it certainly adds depth. His film is filled with references to other movies that chart the development of cinematic techniques, from the shaky, hand-cranked effects of the 1910s and 20s to the smooth Steadicam shots characteristic of recent times. The music by M83, a French electro group, either directly borrows or subtly reworks themes from Vertigo – a movie known for its narrative of death and rebirth, much like Bi’s own work.

The central motifs permeate throughout the movie, with chapters that span various time periods and genres. These include a World War II film noir featuring a detective in a trench coat (Mark Chao); a haunting story set at a decaying Buddhist temple in the 60s or 70s, where a malevolent spirit arises; a narrative about sorcery and deceit centered around a wealthy mobster (Zhang Zhijian), grappling with regret over his lost child; and a captivating thriller set in a bustling red-light district on the brink of the new millennium.

In each part of the story, The Fantasmer takes on a fresh identity and appearance, transitioning across time thanks to The Other One (without delving into the specifics of how this occurs). Remarkably, The Fantasmer does not age and appears to live indefinitely, much like the character portrayed by F.W. Murnau in the silent film segment, or the vampire depicted in the final chapter. When film reels are inserted into The Fantasmer’s back at the start of the movie, it seems that Bi is implying a correlation between vampires and cinema: Both can endure for eternity when they dwell in darkness. This can be interpreted as films surviving by being displayed on a screen for an audience, which is why the story Resurrection starts and finishes with sequences inside movie theaters – one emerging and the other fading away.

This material may be complex for those who aren’t familiar with many film references, such as a reenactment of Lumière brothers’ groundbreaking short “L’Arroseur Arrosé,” which will be shown later. However, Bi’s ability to craft captivating sequences that echo the style of Andrei Tarkovsky allows you to become fully immersed in the film without always understanding every detail. Just keep your eyes open and let the movie carry you along.

To achieve this chapter from 1999, the director intentionally employs an extended shot that spans from the tail end of the last century into the break of a new one. The Fantasmer and his enigmatic lover (Li Gengxi) are seen traversing a desolate riverside landscape in this take. Notably, DP Dong Jingsong is back on board, having previously accomplished a similar feat in Long Day’s Journey into Night. This time, Bi aims to surpass his previous work by seamlessly switching perspectives within the continuous shot, hurtling through hallways and into nightclubs, then into a karaoke scene disrupted by violent gunfire, before abruptly transporting us onto a ship as the sun rises over the year 2000.

Sequence shots, often referred to as “oners,” are typically appreciated by film enthusiasts for the skill required to execute them. Bi is confident and unashamed when demonstrating his technique, and there are clear influences from films like Wong Kar-Wai’s Fallen Angels and Hou’s Millennium Mambo evident in some of his long takes, which are tinted red.

(Note: I’ve made the sentence more concise while maintaining the original meaning and preserving the use of technical terms for filmmaking.)

Additionally, he doesn’t conceal the truth that “Resurrection” embodies a blend of his admiration for art and something akin to burial. It reflects fondness and sorrow for its past, yet struggles to discern its future, particularly during a period when fewer people are attending cinemas compared to before. Nevertheless, there’s an undercurrent of optimism in Bi’s mysterious creation, not so much in its message but in the way it communicates, revitalizing ancient and lifeless forms into something fresh, ensuring that cinema continues to thrive.

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2025-05-23 17:25