Why do we go to the cinema?

The torrent of images from begins, and its wealth of ideas sweeps everything away. Excessive, hallucinatory, and ambitious as few recent works are, the new film by Chinese director Bi Gan shakes up many preconceived notions about what current cinema should be. For him, films must be narratively daring, visually lush, and thematically profound. In this specific case, we are talking about a fantasy tale that revisits more than a century of China's history based on how each period has been represented in cinema... or based on how those who lived through those episodes would have wished they actually were. Reality and desire sharing the screen.The overflowing narrative of

Resurrection has a starting point that seems like the work of : humans have discovered that they can live indefinitely if they don't dream, if they spend days and push years accepting the reality they've been dealt. But in every era, there's a small group of dreamers, idealists, who imagine a different world. Bi Gan, obviously, supports this resistance cell that defends imagination, escapism, and, of course, cinema, as an indispensable part of life. That's why his film is as dreamlike as a David Lynch film and has as much inventiveness as an Orson Welles film.Between vampires, gangsters, spies, ghosts, and romances, Resurrection

throws out another warning about current cinema: it doesn't have to be perfect. Within its baroque style, not all the stories within the film work equally well; some images grate, there are parts that are too cryptic, and sometimes the director gets carried away by a slightly exhibitionist virtuosity. And you know what? It doesn't matter. In these 160 minutes beats a creative attribute that is the reason why we often pay for a ticket: freedom.