Almost a decade after the iconic Long Day’s Journey Into Night, Bi Gan returns to the halls. His fourth feature film Resurrection has epic proportions: an ode to the human condition, to the cinema and the way his language lets the dreams graft on life. After the debut at the last Cannes Film Festival, the film came to Italian theatres from April 23 with I Wonder Pictures.
Resurrection: sei quadri esistenziali
In an indecipherable age in which human beings have given up the ability to dream in exchange for an unnatural longevity, the few who continue to dream are called Delirianti. A woman traces a dying Deliriant in the basement of an opium fumeria and, after taking him home, chases him along a last series of dreams that runs along the entire twentieth century. Among theremin players crazy, prestige tricks, talking statues and gangster blood drinkers, Deliriante and hunter will find to touch the boundaries of human cognition, life and death.
Oltre la comprensione…
Resurrection is not a difficult film to understand: it is a film in which trying to understand means missing the sign completely. Pour of flats and reference points, it is much more a torrent in which to immerse yourself than a narrative object to consume. Constrained shoulders to the wall to find a boa to anchor this review (if nothing else by pulling it off from any idea of criticism and looking at it merely as an object that people read to understand: should I go to see this film?), the natural comparison probably is the cinema of David Lynch: if you are an admirer of Missoula’s director, you will probably feel at home among the sensory folds of Resurrection.
…e oltre il metacinema
But the council is trivializing, as it is trivializing to relegate Resurrection to the sad category of “films on cinema” (or, worse still, of “love letters to cinema” – some thoughts on the theme talking about Nouvelle Vague). It is a film whose love for the form-film is evident and thematic, which enjoys playing with a variety of visual languages, but that goes far beyond the mere telling (and telling us) itself. It is an experience on the generas, confused and dragging. Unlike many of the films in this forgery, however, he manages to remain deeply altruistic, deeply interested in the public who wants to take his hand to immerse him in a dream.
Il cast
Jackson Yee is the Deliriante in all its forms: a cursed singer, a former Buddhist monk reduced to plundering the temples, a crook from the heart of gold and a young thug to the smudge. Shu Qi is the woman, who finds the Deliriante and accompanies him on his last trip. Mark Chao is a policeman close to intuiting the essence of the Deliriante, while Li Genxi is Tai Zhaomei, young with a free spirit with a disturbing secret.
L’articolo Resurrection is a flashy movie – The review comes from Dituttounpop.it.
