theguardian.com
Bi Gan's "Resurrection": A Fantastical Journey Through Chinese History
Bi Gan's "Resurrection," a visually ambitious film premiering at Cannes, follows a 'Fantasmer' who can reincarnate through dreaming, his journey spanning various historical periods in China, culminating on New Year's Eve 1999, symbolizing the nation's transition into the new millennium.
- How does the film's episodic structure and visual style contribute to its overall message?
- The movie interweaves fantastical elements with historical periods, depicting the Fantasmer's reincarnations and encounters. This narrative structure reflects China's complex history and its transition into a new era, mirroring the Fantasmer's journey and the country's path in a symbolic way. The film uses visual effects and stylistic choices evocative of silent films, wartime cinema, and modern gangster films to represent various eras.
- What is the central theme of Bi Gan's "Resurrection," and how does it relate to China's historical context?
- Bi Gan's "Resurrection" premiered at Cannes, a visually stunning film exploring immortality through dreamlessness and the consequences of a man who dreams—the "Fantasmer." The film uses episodic storytelling across Chinese history, culminating in New Year's Eve 1999, symbolizing China's transition into capitalism.
- What are the potential interpretations of the film's ambiguous ending, and what larger implications can be drawn from its open-ended nature?
- The film's open ending and ambiguous title leave the audience pondering the true meaning of "resurrection." The narrative's ambiguity and visual spectacle challenge viewers to consider the nature of time, memory, and identity, alongside China's transformation at the turn of the millennium. The film's visual style, spanning various cinematic eras, adds another layer to the narrative's complexity.
Cognitive Concepts
Framing Bias
The framing is largely positive, emphasizing the film's visual artistry and ambition. Phrases like "visually amazing," "gasp-inducing images," and "work of real artistry" contribute to this positive framing. However, the reviewer also acknowledges some weaker sections, preventing an overly one-sided perspective.
Language Bias
The language used is largely descriptive and evocative, with words like "trippy," "woozy," and "ecstatic" adding to the review's tone. However, these words are used to describe the film's aesthetic, not to judge the film or its creator. More neutral alternatives could be used, such as 'surreal', 'dreamlike', and 'intense'.
Bias by Omission
The review focuses heavily on the film's visual aspects and narrative structure, potentially overlooking other critical elements like sound design, acting performances, or the film's cultural impact within China. There is no mention of the film's reception in China, which could offer a valuable counterpoint to the Western perspective presented.
Sustainable Development Goals
The movie explores themes of social inequality and injustice across different historical periods in China, prompting reflection on these issues. While not explicitly advocating for solutions, the film's portrayal of the "Fantasmer" existing across various social strata implicitly critiques systemic inequalities.