{"id":1821838,"date":"2026-03-12T09:00:00","date_gmt":"2026-03-12T06:00:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1821838"},"modified":"2026-03-12T09:00:00","modified_gmt":"2026-03-12T06:00:00","slug":"the-story-behind-resurrection-bi-gans-dreamy-cinematic-epic","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1821838","title":{"rendered":"The story behind Resurrection, Bi Gan\u2019s dreamy cinematic epic"},"content":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/images-prod.dazeddigital.com\/1200\/azure\/dazed-prod\/1440\/1\/1441389.jpg&#8221;]<\/p>\n<article class=\"main-article standard \">\n<div class=\"article-main-content article-wrapper has-media-but-its-an-image\" data-status=\"loaded\" data-primary-article=\"true\" data-url=\"\/film-tv\/article\/69895\/1\/resurrection-bi-gan-interview-epic-cannes-y2k-romance-gangsters-vampires\" data-article-id=\"69895\">\n<header class=\"article-header has-landscape-image no-media\">\n<div class=\"wrapper dg-max-width\">\n<div class=\"inner\">\n<figure class=\"main-img has-figcaption\" data-img-aspect-ratio-type=\"landscape\" data-img-aspect-ratio=\"1.5\" data-template=\"Standard Article\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"LI Gengxi 2#\" class=\"img\" height=\"2000\" src=\"https:\/\/images-prod.dazeddigital.com\/1400\/azure\/dazed-prod\/1440\/1\/1441389.jpg\" width=\"3000\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"inner\"><span class=\"credit\">Courtesy Trinity <span class=\"nowrap\">Cine Asia<\/span><\/span><\/span><\/figcaption><\/figure>\n<aside class=\"meta\">\n<div class=\"inner\"><time datetime=\"2026-03-12T09:00:00+00:00\" class=\"timestamp\" title=\"12 March 2026\"><span class=\"month\">March<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"12\">12,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/div>\n<\/aside>\n<div class=\"titles\">\n<div class=\"tags\">\n<div class=\"sections\"><a class=\"category vertical - film-tv\" href=\"https:\/\/www.dazeddigital.com\/film-tv\">Film &amp; TV<\/a><br \/>\n\/<br \/>\n<a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/feature\">Feature<\/a><\/div>\n<\/div>\n<div class=\"standard-tag-container\"><a class=\"standard-category\" href=\"https:\/\/www.dazeddigital.com\/film-tv\">Film &amp; TV<\/a> \/<br \/>\n<a class=\"standard-series\" href=\"https:\/\/www.dazeddigital.com\/feature\">Feature<\/a><\/div>\n<h1 class=\"title\"><span>The story behind Resurrection, Bi Gan\u2019s dreamy <span class=\"nowrap\">cinematic epic<\/span><\/span><\/h1>\n<div class=\"standfirst\">\n<h2>\u2018It was pure chaos\u2019: Featuring a Y2K romance, gangsters and vampires, Bi Gan tells us about his Cannes-winning Resurrection \u2013 a neon-soaked fever dream that spans a century <span class=\"nowrap\">of cinema<\/span><\/h2>\n<\/div>\n<p><time datetime=\"2026-03-12T09:00:00+00:00\" class=\"timestamp\" title=\"12 March 2026\"><span class=\"month\">March<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"12\">12,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/div>\n<\/div>\n<p><time datetime=\"2026-03-12T09:00:00+00:00\" class=\"timestamp\" title=\"12 March 2026\"><span class=\"month\">March<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"12\">12,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/p>\n<div class=\"providers\">\n<div class=\"contributors\"><span class=\"contributor\" data-contributor-role=\"Text\"><span class=\"contributor-role\">Text<\/span><a class=\"contributor-name\" href=\"https:\/\/www.dazeddigital.com\/user\/jamesbalmont\">James Balmont<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/header>\n<div class=\"article-body-container\">\n<div class=\"article-body wrapper\">\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>In a neon-drenched port town on New Year\u2019s Eve, 1999, a hoodlum named Apollo, who has never kissed a girl, falls for a beautiful young singer named Tai Zhaomei. As the rain batters down, this Y2K Romeo and Juliet slip into the backstreets, coming up against mobsters, biker gangs, karaoke singers, gunshots, flocks of birds, drug dealers, and even vampires in a bid to steal a ship and escape to the sea. The average filmmaker might stage such a sequence with a sense of style and verve. But Chinese filmmaker Bi Gan does it all in a single, 40-minute unbroken shot, culminating in one of the most mind-blowing sunrises ever captured in cinema.<\/span><\/p>\n<p><span>The film is <\/span><em><span>Resurrection: <\/span><\/em><span>a boundary-pushing and philosophical arthouse epic about dreams, the senses, and over 100 years of filmmaking. It sparked spontaneous applause at <a href=\"https:\/\/www.dazeddigital.com\/tag\/cannes\">Cannes in 2025<\/a>, where it was awarded the Special Jury Prize. In Bi\u2019s native <a href=\"https:\/\/www.dazeddigital.com\/tag\/china\">China<\/a>, meanwhile, it topped the box office despite its unwaveringly anti-commercial presentation. Described as \u201ca cinephile\u2019s delight\u201d by the<em> New York Times<\/em>, and ranked among Letterboxd\u2019s \u2018<\/span><a href=\"https:\/\/www.instagram.com\/p\/DUEcKxokSFk\/?hl=en&amp;img_index=1\"><span>Highest Rated Films of 2025<\/span><\/a><span>\u2019, the movie finally receives a wide UK release in March 2026 following an appearance at the <a href=\"https:\/\/www.dazeddigital.com\/film-tv\/article\/68636\/1\/10-films-2025-bfi-london-film-festival-charli-xcx-bdsm-romcom\">BFI London Film Festival<\/a>. And if audiences were wondering whether movie magic still exists in the age of franchise sequels and reboots, well, here\u2019s your answer.<\/span><\/p>\n<p><span>\u201cThe audience sees this very beautiful passage,\u201d says Bi Gan, speaking to Dazed via video call in November 2025. \u201cBut behind it, it was just pure chaos.\u201d\u00a0<\/span><\/p>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"H-rfoaxJiCc\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/H-rfoaxJiCc\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>At 36 years old, the director already boasts a ludicrous pedigree for ambitious filmmaking. Since bursting onto the international scene with 2015\u2019s <em>Kaili Blues, <\/em>he\u2019s established himself as a kind of high-tech successor to long-take greats like Andrei Tarkovsky. His dazzling 2018 neo-noir <em>Long Day\u2019s Journey Into Night, <\/em>for one, famously concluded with a mind-boggling 59-minute long take shot in 3D, involving a cable car journey, a motorbike ride, and a game of ping pong. But even with the requisite experience to consider such staggering feats of filmmaking, the act itself is never simple.<\/span><\/p>\n<p><span>\u201cWe started doing rehearsals [for the long take] about half a month before the shoot,\u201d the director continues. The climactic setting in <\/span><em><span>Resurrection \u2013<\/span><\/em><span> Chongqing, recently fixated on in social media as China\u2019s \u201ccyberpunk\u201d city \u2013 was chosen for its warren-like back alleys and close proximity to a railway system and a harbour. \u201cAfter that, we filmed [every night] from two or three until 7am. It was hours and hours of shooting to create about 30 minutes of footage in the end film \u2013 three hours of which were condensed as a time-lapse to create a dream-like vibe.\u201d<\/span><\/p>\n<p><span>Unsurprisingly, there were countless obstacles to pulling off such a complicated scene. They were shooting at night; the lighting fixtures could get so hot that they\u2019d burn, says Bi. To create rain, they used a network of pipes and sprinklers, which then all had to be obscured. And to be able to move flexibly through such a labyrinth of alleyways, they had to use as few crew as possible. Still, \u201cin every single move, there were at least ten people following, doing set-up and planning [for the next steps],\u201d the director says. \u201cIt\u2019s very hard.\u201d<\/span><\/p>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<blockquote>\n<p>\u201cY<span>ou see this archetype in a lot of literature \u2013 a monster that might be ugly on the outside, but soft on the inside, and compassionate. It\u2019s an archetype that can raise people\u2019s feelings and emotions\u201d<\/span><\/p>\n<\/blockquote>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Perhaps even more impressive than the long shot itself is that this is but one small highlight of a multi-chapter narrative, encompassing mysterious parables, trace-like sequences, and a wealth of old-fashioned physical effects. <\/span><em><span>Resurrection<\/span><\/em><span>\u2019s wider story concerns a dystopian reality where dreaming is a dissident act, with Yee (who plays five distinct roles in the film) playing a disfigured monster who, in his final moments, relives a series of fantasies that draw from distinct filmmaking styles from across a century of cinema. Each chapter zones in on a different sensory experience, resulting in an odyssey that is at once a paean to cinema ,and also to the human condition.<\/span><\/p>\n<p><span>The first dream \u2013 the \u201clistening\u201d chapter \u2013 sees Yee play a fugitive musician\u2019s companion in a desolate city in the mid-20th century.<\/span><span>\u201cWe referenced film noir elements, and used very specific proportions of lights to get this contrast with the shadows,\u201d says Bi. Later, Yee\u2019s a toothache-stricken art thief in a deteriorated Buddhist temple; a chapter originally conceived to take place in outer space. The \u201csmell\u201d chapter follows a con artist who swindles a gangster by teaching a young girl tricks that suggest she can recognise playing card values from scent. But it is the encompassing chapter, staged in a dystopian near-future, that is perhaps the most formally engaging, recalling the aesthetics of silent cinema with nods to classic monster movies and German Expressionism.<\/span><\/p>\n<p><span>\u201cThe passion towards silent film comes from how people created films at that time,\u201d says Bi of these segments. \u201cYou\u2019d have a still frame, but then you\u2019d need to make all the movements inside that framing, so they\u2019d use the theory of perspectives to create movements and generate illusions.\u201d\u00a0<\/span><\/p>\n<\/div>\n<figure class=\"inline-img expandable dev-view-hide\" data-img=\"b739437a-b70e-47b4-a5f0-b40a0129ab44\" data-src=\"https:\/\/images-prod.dazeddigital.com\/2000\/azure\/dazed-prod\/1440\/1\/1441390.jpg\" data-img-aspect-ratio-type=\"landscape\" data-img-aspect-ratio=\"1.23\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Resurrection\" class=\"img\" height=\"1629\" src=\"https:\/\/images-prod.dazeddigital.com\/786\/azure\/dazed-prod\/1440\/1\/1441390.jpg\" width=\"2000\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"caption\">Resurrection<\/span><span class=\"credit\">Courtesy Trinity <span class=\"nowrap\">Cine Asia<\/span><\/span><\/figcaption><\/figure>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>He describes watching a clip featuring Charlie Chaplin, in which the actor roller skates around a building along the edge of a perilous drop. \u201cThe crew had drawn half of the background onto a board, and then they\u2019d use this front and back mismatch to create this illusion effect,\u201d he says. \u201cWe borrowed something similar in the opium den scene [in <\/span><em><span>Resurrection<\/span><\/em><span>], painting the opium den silhouette onto an acrylic board, but then shooting in a big space where only the stairs were real. What you see is a mixture of real stairs and the fake painting. Even I find it hard to tell the real and the fake apart.\u201d<\/span><\/p>\n<p><span>Amidst all this fascinating formal creativity, Bi spotlights a classic movie monster to act as a sympathetic proxy for the audience: a Quasimodo-esque hunchback with a hideous face, inspired in part by Lon Chaney\u2019s <\/span><em><span>Phantom of the Opera <\/span><\/em><span>from 1925. \u201cYou see this archetype in a lot of literature,\u201d he says. \u201cA monster that might be ugly on the outside, but soft on the inside, and compassionate. It\u2019s an archetype that can raise people\u2019s feelings and emotions.\u201d<\/span><\/p>\n<p><span>It\u2019s also an archetype that, in some ways, mirrors the director himself: he\u2019s complex; the subject of much fascination; and hard up against it in his bid to make a mark. But the real gargantua is undoubtedly <\/span><em><span>Resurrection <\/span><\/em><span>itself; an almost-impossible feat of fantasy that resembles few other works out there; a beautiful beast with one leg in the past and another firmly in the future. It\u2019s the ultimate cinematic sorcery \u2013 and the kind that audiences will surely talk about for years to come.<\/span><\/p>\n<\/div>\n<div id=\"newsletter-inline-last\">\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. 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Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. You have been subscribed<\/p>\n<p><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n<div class=\"article-body wrapper\">\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>In a neon-drenched port town on New Year\u2019s Eve, 1999, a hoodlum named Apollo, who has never kissed a girl, falls for a beautiful young singer named Tai Zhaomei. As the rain batters down, this Y2K Romeo and Juliet slip into the backstreets, coming up against mobsters, biker gangs, karaoke singers, gunshots, flocks of birds, drug dealers, and even vampires in a bid to steal a ship and escape to the sea. The average filmmaker might stage such a sequence with a sense of style and verve. But Chinese filmmaker Bi Gan does it all in a single, 40-minute unbroken shot, culminating in one of the most mind-blowing sunrises ever captured in cinema.<\/span><\/p>\n<p><span>The film is <\/span><em><span>Resurrection: <\/span><\/em><span>a boundary-pushing and philosophical arthouse epic about dreams, the senses, and over 100 years of filmmaking. It sparked spontaneous applause at <a href=\"https:\/\/www.dazeddigital.com\/tag\/cannes\">Cannes in 2025<\/a>, where it was awarded the Special Jury Prize. In Bi\u2019s native <a href=\"https:\/\/www.dazeddigital.com\/tag\/china\">China<\/a>, meanwhile, it topped the box office despite its unwaveringly anti-commercial presentation. Described as \u201ca cinephile\u2019s delight\u201d by the<em> New York Times<\/em>, and ranked among Letterboxd\u2019s \u2018<\/span><a href=\"https:\/\/www.instagram.com\/p\/DUEcKxokSFk\/?hl=en&amp;img_index=1\"><span>Highest Rated Films of 2025<\/span><\/a><span>\u2019, the movie finally receives a wide UK release in March 2026 following an appearance at the <a href=\"https:\/\/www.dazeddigital.com\/film-tv\/article\/68636\/1\/10-films-2025-bfi-london-film-festival-charli-xcx-bdsm-romcom\">BFI London Film Festival<\/a>. And if audiences were wondering whether movie magic still exists in the age of franchise sequels and reboots, well, here\u2019s your answer.<\/span><\/p>\n<p><span>\u201cThe audience sees this very beautiful passage,\u201d says Bi Gan, speaking to Dazed via video call in November 2025. \u201cBut behind it, it was just pure chaos.\u201d\u00a0<\/span><\/p>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"H-rfoaxJiCc\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/H-rfoaxJiCc\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>At 36 years old, the director already boasts a ludicrous pedigree for ambitious filmmaking. Since bursting onto the international scene with 2015\u2019s <em>Kaili Blues, <\/em>he\u2019s established himself as a kind of high-tech successor to long-take greats like Andrei Tarkovsky. His dazzling 2018 neo-noir <em>Long Day\u2019s Journey Into Night, <\/em>for one, famously concluded with a mind-boggling 59-minute long take shot in 3D, involving a cable car journey, a motorbike ride, and a game of ping pong. But even with the requisite experience to consider such staggering feats of filmmaking, the act itself is never simple.<\/span><\/p>\n<p><span>\u201cWe started doing rehearsals [for the long take] about half a month before the shoot,\u201d the director continues. The climactic setting in <\/span><em><span>Resurrection \u2013<\/span><\/em><span> Chongqing, recently fixated on in social media as China\u2019s \u201ccyberpunk\u201d city \u2013 was chosen for its warren-like back alleys and close proximity to a railway system and a harbour. \u201cAfter that, we filmed [every night] from two or three until 7am. It was hours and hours of shooting to create about 30 minutes of footage in the end film \u2013 three hours of which were condensed as a time-lapse to create a dream-like vibe.\u201d<\/span><\/p>\n<p><span>Unsurprisingly, there were countless obstacles to pulling off such a complicated scene. They were shooting at night; the lighting fixtures could get so hot that they\u2019d burn, says Bi. To create rain, they used a network of pipes and sprinklers, which then all had to be obscured. And to be able to move flexibly through such a labyrinth of alleyways, they had to use as few crew as possible. Still, \u201cin every single move, there were at least ten people following, doing set-up and planning [for the next steps],\u201d the director says. \u201cIt\u2019s very hard.\u201d<\/span><\/p>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<blockquote>\n<p>\u201cY<span>ou see this archetype in a lot of literature \u2013 a monster that might be ugly on the outside, but soft on the inside, and compassionate. It\u2019s an archetype that can raise people\u2019s feelings and emotions\u201d<\/span><\/p>\n<\/blockquote>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Perhaps even more impressive than the long shot itself is that this is but one small highlight of a multi-chapter narrative, encompassing mysterious parables, trace-like sequences, and a wealth of old-fashioned physical effects. <\/span><em><span>Resurrection<\/span><\/em><span>\u2019s wider story concerns a dystopian reality where dreaming is a dissident act, with Yee (who plays five distinct roles in the film) playing a disfigured monster who, in his final moments, relives a series of fantasies that draw from distinct filmmaking styles from across a century of cinema. Each chapter zones in on a different sensory experience, resulting in an odyssey that is at once a paean to cinema ,and also to the human condition.<\/span><\/p>\n<p><span>The first dream \u2013 the \u201clistening\u201d chapter \u2013 sees Yee play a fugitive musician\u2019s companion in a desolate city in the mid-20th century.<\/span><span>\u201cWe referenced film noir elements, and used very specific proportions of lights to get this contrast with the shadows,\u201d says Bi. Later, Yee\u2019s a toothache-stricken art thief in a deteriorated Buddhist temple; a chapter originally conceived to take place in outer space. The \u201csmell\u201d chapter follows a con artist who swindles a gangster by teaching a young girl tricks that suggest she can recognise playing card values from scent. But it is the encompassing chapter, staged in a dystopian near-future, that is perhaps the most formally engaging, recalling the aesthetics of silent cinema with nods to classic monster movies and German Expressionism.<\/span><\/p>\n<p><span>\u201cThe passion towards silent film comes from how people created films at that time,\u201d says Bi of these segments. \u201cYou\u2019d have a still frame, but then you\u2019d need to make all the movements inside that framing, so they\u2019d use the theory of perspectives to create movements and generate illusions.\u201d\u00a0<\/span><\/p>\n<\/div>\n<figure class=\"inline-img expandable dev-view-hide\" data-img=\"b739437a-b70e-47b4-a5f0-b40a0129ab44\" data-src=\"https:\/\/images-prod.dazeddigital.com\/2000\/azure\/dazed-prod\/1440\/1\/1441390.jpg\" data-img-aspect-ratio-type=\"landscape\" data-img-aspect-ratio=\"1.23\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Resurrection\" class=\"img\" height=\"1629\" src=\"https:\/\/images-prod.dazeddigital.com\/786\/azure\/dazed-prod\/1440\/1\/1441390.jpg\" width=\"2000\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"caption\">Resurrection<\/span><span class=\"credit\">Courtesy Trinity <span class=\"nowrap\">Cine Asia<\/span><\/span><\/figcaption><\/figure>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>He describes watching a clip featuring Charlie Chaplin, in which the actor roller skates around a building along the edge of a perilous drop. \u201cThe crew had drawn half of the background onto a board, and then they\u2019d use this front and back mismatch to create this illusion effect,\u201d he says. \u201cWe borrowed something similar in the opium den scene [in <\/span><em><span>Resurrection<\/span><\/em><span>], painting the opium den silhouette onto an acrylic board, but then shooting in a big space where only the stairs were real. What you see is a mixture of real stairs and the fake painting. Even I find it hard to tell the real and the fake apart.\u201d<\/span><\/p>\n<p><span>Amidst all this fascinating formal creativity, Bi spotlights a classic movie monster to act as a sympathetic proxy for the audience: a Quasimodo-esque hunchback with a hideous face, inspired in part by Lon Chaney\u2019s <\/span><em><span>Phantom of the Opera <\/span><\/em><span>from 1925. \u201cYou see this archetype in a lot of literature,\u201d he says. \u201cA monster that might be ugly on the outside, but soft on the inside, and compassionate. It\u2019s an archetype that can raise people\u2019s feelings and emotions.\u201d<\/span><\/p>\n<p><span>It\u2019s also an archetype that, in some ways, mirrors the director himself: he\u2019s complex; the subject of much fascination; and hard up against it in his bid to make a mark. But the real gargantua is undoubtedly <\/span><em><span>Resurrection <\/span><\/em><span>itself; an almost-impossible feat of fantasy that resembles few other works out there; a beautiful beast with one leg in the past and another firmly in the future. It\u2019s the ultimate cinematic sorcery \u2013 and the kind that audiences will surely talk about for years to come.<\/span><\/p>\n<\/div>\n<div id=\"newsletter-inline-last\">\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. You have been subscribed<\/p>\n<p><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>[analyse_source url=&#8221;https:\/\/www.dazeddigital.com\/film-tv\/article\/69895\/1\/resurrection-bi-gan-interview-epic-cannes-y2k-romance-gangsters-vampires&#8221;]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/images-prod.dazeddigital.com\/1200\/azure\/dazed-prod\/1440\/1\/1441389.jpg&#8221;] Courtesy Trinity Cine Asia March\u00a0 12,\u00a0 2026 Film &amp; TV \/ Feature Film &amp; TV \/ Feature The story behind Resurrection, Bi Gan\u2019s dreamy cinematic epic \u2018It was pure chaos\u2019: Featuring a Y2K romance, gangsters and vampires, Bi Gan tells us about his Cannes-winning Resurrection \u2013 a neon-soaked fever dream that spans [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[226,76],"class_list":["post-1821838","post","type-post","status-publish","format-standard","hentry","category-politics","tag-crawlmanager","tag-dazeddigital-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1821838","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1821838"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1821838\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1821838"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1821838"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1821838"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}