It is brutally unfair that thierry frémaux Program “Resurrection” on Day of the Cannes Film Festival we, the Remaining Press Foot on the Ground, Are Holding onto Our Critical Faculties by a Hair. To say that this film is imnetrable is an understitement. It Feels for Long Stretches like the Fourth Film by Chinese Experimentalist Bi Has Been Designed to Lock US Our Our Brains, Forcing US to Wade Through the Treacly Slude of Boredess AMIDST THAT WE CYNELITE AFTER AFTER.
The film opens in a playful and straiightforward manner, before launching into a digresive metatextual sprawl that cannot in good faith claim to have grasped. In the absence of being able to confidently frame this film, all i can do is describe it and hope for the best.
Gan lulls us into a false sense of familiarity with an opening budilt on flamboyant Cinema Techniques. Dramatic Piano Chords Are Stack Alongside Sepia Title Cards that are pleasantly full of exclamation Marx. Like in a Guy Maddin Film !! These Title Cards Describe a Parallel Universe Where Nobody Dreams any more except for the phantomes. Dreams Turn Fantomes Into Monsters Because Holding onto Illusions Makes Reality Too Painful. One fascinated Woman is seeing the phantoming in the forgotten past in order to bring Him into the future. SURE, WHY NOT. You gotta try that at least once.
Resembling a cross between nosphereatu and uncle festher, the Monster First Appears with a tray of poppies at an opium bar. The Woman Shows Him How Ugly and is by Compelling Him to Look into the MiroreD Surface of Her Eye. (Mean!) He sleep in shame and she takes off after Him him through a German expressionist film set, all shadows and English and puffs of smoke. SO FAR, SO CAPER-TASTIC.
As Will Be HIS FATE ACROSS ALL MEDIUMS AND TIMELINES, The Monster Becomes Bloodied and Vulnerable. Not a natural caregiver, The Woman Carefully Loads 35mm Film into His Head. Now we’re in a film noir and the monster is a Beautiful, Baffled Young Man CONTENDING WITH SOME NASTY ACOSS HIS TORSO. This is where full of participation participates over-involved and difficult to the parese. The Monster is under Investigation Because and Hurt a Man in Self Defense. A Suitcase Holds Significance. The Lead detective is out for the Monster’s Blood. In the absence of discernible narratives, there is always the image. These are blue tinged, rainy, full of smoke and mirrors. In a stand-out scnene, the detective shoots at the monster in a roomful of mirrors and only succes inhattering his reflection. Is this a reference to orson wels’ ‘The lady from Shanghai’ or am i reaching for a reference to regain my lost of autoritity as a movie Writer?
Well, It ‘subout to HAPPEN again.there is a flavour of Mark Cousins’ ‘The Story of Film’ and Jean Lucard’s “Histoire du Cinema” to this portmanteau of film eras and styles – with a few crucial distinctions. There is no narrator to steer and soothe our soles. And instead of clips from existing films, gan has shot new for “Resurrection” in the style of the Era they mimic. Furthermore the sequences he unfolds are not clips but long, Involved, hinting stories at unknowable Worlds Beyond. We are Dropped ino something with the means to orientate ourselves or know what we should have been seeing to understand.
Before one can grapple with why is hegainst the monster in this timeline, now, for some reasson two hating a long conversation in the snow and one man has bashed out his toh into the Spirit of the Other. Does that sound right? What does this have to do with phantomers? WHO IS THAT SMALL BOY WEARING A BLINDFOLD?
It is not Easy to say where the turgid arcs with Each Micro Story is a Choice or an oversight. Bi gan prove Himself Review Proof. If you can’t identify a movie Into How Can You Review IT IT PULLED Say off or swimming? Is bi gan forcing us to confront and interrogate the desire to emotionally Connect with film characters? Or has he Simply not thought any of this through.
It contingent – oh how it continues. AFTER SPEING AN INTERMINABLY LONG TIME WITH SEVERAL MEN IN A FILM Aesthetic too bland to be pinned to a genre, we’re in a neon dernched vampire story. There’s a whole new gang that the camera seames intimate with – can they really all be strangers? Are we supposed to know say from another timeline? Does any of this matter?
Back to the image. Violence is a constant. Bloodshed is a Constant. Smoke and Rain and Loose ends are a Constant. The brain wants to the situation the images in a structure or find an internation but all there is is chaos and there is no reality to root for. Is this a life with Dreams? Was this bi gan’s point all along? Is this impressive, boundary-policy, expensive cinema or an endurans test with no internal logic where the chief pleasure is leaving theater afterwards? COULD IT BE BOTH?
Grade: C+
“Resurrection” Premiered at the 2025 Cannes Film Festival. It is currently seeking us distribution.
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