Introduction to Bi Gan’s Cinema
Some filmmakers talk about the intentions behind their work with great ease. Others find it excruciating and believe that the expression on the screen is its full and truthful form of communication. It is no surprise that the Chinese author Bi Gan is a lot in the latter category. Since his debut with Be Blurred (2015), which announced him as one of the most striking voices in the global art cinema, the 35-year-old director has earned a call for fascinating visual innovation and narrative ambiguities.
The Evolution of Bi Gan’s Work
With his recognized second feature, Long Day Trip to the Night (2018), he deepened his research of memory, longing, and cinematic form and put up for hours of use in 3D, the world’s amazed audience, astonished-a sequence, which was so tense hypnotic that the attempt to describe the attempt to convey the enveloping essence of a dream. At the last film festival in Cannes, Bi returned to the Croisette with Resurrection, his most ambitious film so far. In six chapters, one of the senses are devoted – vision, sound, taste, smell, touch – the film is also a sensory odyssey and a meditation about the cinema itself.
The Story and Themes of Resurrection
Main transplication of Jackson Yee and a radiant Shu Qi, Resurrection tells the story of a spectral unit that is known as a phantasm and travels through various cinematic styles, from silent film to film noir to the latest present to an inevitable existential interruption. Poisoning visual metaphors for mortality and the temporary power of the cinematic image are abundant. As critics put it in a rave in Cannes: “Thinking about the past of seventh art, which in a moment that many believe that it is in the death disorders, has worked on a time tour, genre jumping Paean, on the big screen in which he repeats the films, and Buries Buries Buries Buries Buries Buries Buries Buries Buries Buries Buries Buries Buries Buries Buries Buries Buries Buries Buries Buries Buries Buries Buries Hope Times Times Times Times Times Times TourRecing, like in the processes.
Bi Gan’s Creative Process
Bi was awarded a "special prize" by Juliette Binoche’s jury in Cannes. Janus films then have to publish the North American rights and planning Departmental in the USA later this year. The film will also meet screens in China at some point in the coming months. Recently connected to Bi over zoom to discuss his artistic intentions. The inspiration came to him after he was done with Long Day Trip to the Night. He has always been interested in the concept of human fate, and this curiosity has developed to create the phantasm, the monster in this new film.
Writing and Filmmaking Style
Bi writes everywhere, spending time in different cities, but mainly Beijing and Guangzhou. He writes in pictures, and when he developed the structure for this film, he divided it into six chapters, each of which was one of the senses. The six chapters extend from the early 20th century to the present day and each reflect a cinematic style of its time. For example, when he wrote the first chapter, he imagined a silent film in his head. The core of the film is about a cinema monster, a fantasm that travels through time.
Use of Cinematic Technology
The use of long attitudes and hypnotic camera movement has become a signature of Bi’s style. In this case, there is a distribution of cinematic technology, but we have to wait a while before his unique, Tarkovsky-like atmosphere is completely received. At first, he didn’t intend to use long duration again, but in the chapter on Touch, he returned to it – it felt more natural, and the rotary process was more smooth as soon as he returned to it.
Interpretation and Experience
Bi’s cinema often opposes clear interpretation. He imagines his films as a puzzle that should be solved, or rather to feel experiences. He doesn’t think there is a special interpretation for his films. That’s why he finds interviews so difficult. He doesn’t know what he can add more to make the film clearer. When Be Blurred came out in 2015, and he made jokes about his films during the interviews – but he realized that he was only misleading people.
Favorite Chapter and Filming Locations
Bi likes all the chapters of the film because they have to exist one after the other – they are connected. In the last chapter, the actress carries out a ritual for fantasm. It is similar to a traditional funeral rite in China. This chapter is about the spirit, and at this point, the fantasm has lost all other senses. The film was shot in Chongqing, which is similar to his hometown Kaili, but offers more options, looks, and shooting opportunities.
Inspiration and Appreciation for Material Wealth
This year, there was a documentary about David Lynch in Cannes, and the film contained a lot of film material about how Philadelphia was inspired in the late 1960s and 1970s Eraserhead and all of his sensitivity – the broken, dilapidated industrial textures of the city. Bi’s films seem to have a similar appreciation for material wealth, the decay, and decay of modern China. Yes, he agrees, Resurrection extends from the early 20th century to the present day.
Conclusion and Future Plans
It was seven years ago that Long Day Trip to the Night was released. After Travel of the long day, Bi took a break and started writing Resurrection, which would be a realistic story pretty quickly and initially. But it developed over time. His creative process has not changed much, but the world has, and that made him feel that he finally had to make this film. He hoped that the audience could bring some consolation. Yes, he offers comfort – is that the main path he hopes that this film will speak for the world? Yes, it is a simple desire. He wants to offer comfort.
