Visionary director Bi Gan invites audiences to a journey through the ages of cinema. In a dazzling kaleidoscope of images, he keeps the flame of the undying love between cinema and audiences burning.
Narratively and stylistically chameleonic, it's a sci‑fi‑flavored, century‑spanning cinematic collage and profound invitation to dream.
Resurrection 2025
Kuang ye shi dai
With just two feature films, Kaili Blues (2015) and Long Day’s Journey Into Night (2018), Chinese filmmaker Bi Gan established himself as one of the great innovators of contemporary cinema.
With Resurrection, which premiered (and was awarded) at Cannes 2025, he’s upped the ante even further with a work of huge ambition and formal prowess. A sci-fi future where humans don’t dream anymore, and the one dreamer left is reduced to a pitiful state of shunned monstrosity, provides Bi Gan with a pretext that doubles as narrative trigger and political statement: cinema is the Art of dreams, feeding on the imagination of filmmakers and nurturing the fantasy of the audiences. As he invites us on a wild ride through the ages of cinema and its styles (hold your breath for the one-shot romance/crime drama set at the cusp of the new millennium), Bi Gan celebrates the magic ray of light that illuminates the screen of movie theaters and the lives of all audiences.— Paolo Bertolin