Better to Dream Than Live Forever: Bi Gan’s Resurrection (2025)

When I first received an invitation to a special screening of Bi Gan’s Resurrection, I hesitated to accept because of its 156-minute length. Most days, two and a half hours is my limit, but the film's reputation and the anticipation surrounding it caught my attention.

After reading more about the film and learning that it had won the Prix Spécial at the 2025 Cannes Film Festival, my interest was officially piqued.

I also learned that the soundtrack was composed by M83, a French electronic rock band I have admired for a while for its new wave sound and ambient beats.

Having little knowledge of the director and the film's background, I decided to take a chance and see what it was all about.

Therefore, on a cloudy, cool Thursday, I treated myself to an artsy movie date at the renowned Belcourt Theater here in Nashville, known for its eclectic and independent film screenings.

Resurrection takes place in a future where people have given up the ability to dream in exchange for immortality. These people are called “The Other Ones.” On the flip side, some individuals can still dream. These people are called “Deliriants” and are seen as creatures or monsters.

Gan refers to the non-dreamers as “candles who do not burn,” a metaphor that appears throughout the film.

One day, a woman who is an “Other One” (Shu Qi) discovers a monstrous-looking “Deliriant” and installs a film projector inside his chest cavity so he can have a few more dreams before his death. She can view them as well.

This is all divided into six chapters, each dedicated to one of the five senses and to a different genre in cinema history.

My initial thoughts after viewing the entire production were to describe it as “Inception on acid”. It is not just a movie but an experience. It felt like being on The Great Movie Ride (RIP) at Hollywood Studios… but on shrooms.

It isn’t for everybody, but if you approach it with an open mind and you’re feeling a little pretentious, this is your jam. It was definitely my jam the day I saw it. There’s a lot to digest and decipher among the many allegorical fixtures, but I do love me a puzzle-box film that ignites my curiosity and makes me want to explore it further.

My favorite part is the M83 score. It is stunningly ethereal, almost like being in a sound bath (which, if you haven’t tried, I recommend). It puts you in a cinematic trance, with sound design that is off the charts. I was totally engrossed and felt as if I were dreaming along with the “Deliriant”.

I’m listening to the soundtrack as I write this, and I’m transported back to the incredible visuals and the feelings this movie left me with. I’m forever in awe of music’s ability to connect us to memories and emotions that span time, just as this movie's theme and message express.

Gan’s direction, along with cinematographer Dong Jingsong’s eye, is impressive, especially since this is only Gan’s third feature film. The way the movie looks and moves suggests a filmmaker of a prestigious pedigree. I was surprised to hear that he is early in his career.

If Gan continues on this trajectory, he will be a filmmaker who will make history.

Despite the movie’s runtime, the pacing is steady and kept my attention for most of it. As I mentioned earlier, I am not one to sit for that long, period, unless I’m sleeping, so the fact that I was engaged for most of it says a lot. There were times when I grew antsy, and the narrative was a little drawn out, making it more complex than it needed to be. An intermission would have been appreciated.

My favorite chapter was the very first one, an ode to the silent era. It felt like a non-horror version of House meets The Phantom of the Opera, with a touch of ballet. My other favorite was the last chapter, set on New Year’s Eve 1999-2000 and shot in a single take, featuring a creature horror fans would appreciate.

Jackson Yee is the heavy-hitting actor here, playing the role of the “Deliriant” and appearing in every chapter of the dreams. He gives an excellent performance and is so transformed in each segment that I almost didn’t recognize him. He is not only an actor but also a pop star in the band TFBoys. He is one of the most popular actors in Chinese cinema right now, for good reason.

The theme that runs throughout the film is that living without dreams (or any artistic expression, including cinema) is not truly living. Gan wants to show how movies can allow humanity to experience all of life’s emotions and serve as a form of dreaming. Without cinema, are we truly living?

With the possible Netflix acquisition of Warner Brothers, this all seems too relevant as theaters face a critical moment in history. But that’s a story for another day.

Gan says it best in the film, “Better to be a corpse and dream than to live forever and not.”

The central message is genuinely touching, and the music moved me in unexpected ways. However, there was no emotional connection to the characters. If such a connection had been established earlier in the story, the film would have had a greater impact. I don’t mind the exception, as the visuals and sound quite effectively stimulate the senses throughout the runtime. Still, it could have made the film even more memorable than it already is.

As for re-watchability, it’s not something I could watch in one sitting, but I would absolutely give it another viewing over a couple of sessions. There is so much allegory, theme, meaning, and symbolism that it’s almost too much for my little brain, but I also love dissecting films such as this one, much like a Tool album or a Jordan Peele movie.

Overall, I rate Resurrection 4 out of 5 stars. It is imposing for a third feature and a feast for the eyes. It reminds me somewhat of one of my husband’s favorite movies, Ink (2009). It has the same ethereal vibe, almost like a dreamlike fairy-tale feature.

If you’re a patient viewer with an appreciation for avant-garde cinema and layered storytelling, I highly recommend seeing this film in a theater. The immersive visuals and sound design create a hypnotic atmosphere that draws you into a dream within a dream. Afterward, your mind will naturally reflect on the experience, and I promise, none of it is a waste of your time.

You can see Resurrection in limited theaters starting Friday, January 23rd.