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Resurrection | Movie Review

Bi Gan’s latest film, Resurrection, arrives as a visually opulent, post‑apocalyptic meditation that follows the enigmatic “Big Other” as she awakens a dreaming android by recounting Chinese history. The movie stitches together vignettes drawn from silent‑era expressionism, Hong Kong noir and 1990s realism, turning each frame into a painterly tableau. While the cinematography dazzles, the dense invented terminology and sprawling intertitles render the narrative nearly indecipherable. Critics praise its artistry but warn that its fragmented structure may alienate mainstream audiences.