Bi Gan, a 36-year-old Chinese filmmaker, has once again pushed the boundaries of cinematic storytelling with his latest film, "Resurrection". The movie features a breathtaking 30-minute unbroken tracking shot that takes viewers on a thrilling journey through 20th-century China. This ambitious achievement is not only a testament to Bi's technical prowess but also a reflection of his artistic vision.
According to Bi, the long take was inspired by a particular painting by Mark Rothko, which sparked an idea to use this film language to tell a story about time and memory. The director has been experimenting with long takes since his debut feature "Kaili Blues", where he used a 41-minute tracking shot to convey a philosophical narrative.
When planning the long take for "Resurrection", Bi worked closely with his team, including cinematographer Dong Jingsong and production designer Liu Qiang. They spent months rehearsing and fine-tuning the script, location scouting, and technical rehearsals to ensure that every detail was perfect. The rehearsal period was grueling, with the team working only at night and the actors practicing specific skills, such as operating a boat or singing karaoke.
The long take is not stitched together; it's an uninterrupted 30-minute shot that follows the characters from a violent gang fight on the docks to a raucous karaoke bar and back to the port. Bi has stated that he was unable to find any seams in the shot, demonstrating his mastery of the technique.
Bi Gan's approach to filmmaking is characterized by innovation and experimentation. He often subverts preconceived notions about films, as seen in "Resurrection", which not only showcases his technical skills but also pushes the boundaries of narrative storytelling.
As Bi noted during an interview, "I was looking for the seams but I couldn’t find anything." This sentiment encapsulates his dedication to creating seamless and immersive cinematic experiences that blur the lines between reality and fiction.
According to Bi, the long take was inspired by a particular painting by Mark Rothko, which sparked an idea to use this film language to tell a story about time and memory. The director has been experimenting with long takes since his debut feature "Kaili Blues", where he used a 41-minute tracking shot to convey a philosophical narrative.
When planning the long take for "Resurrection", Bi worked closely with his team, including cinematographer Dong Jingsong and production designer Liu Qiang. They spent months rehearsing and fine-tuning the script, location scouting, and technical rehearsals to ensure that every detail was perfect. The rehearsal period was grueling, with the team working only at night and the actors practicing specific skills, such as operating a boat or singing karaoke.
The long take is not stitched together; it's an uninterrupted 30-minute shot that follows the characters from a violent gang fight on the docks to a raucous karaoke bar and back to the port. Bi has stated that he was unable to find any seams in the shot, demonstrating his mastery of the technique.
Bi Gan's approach to filmmaking is characterized by innovation and experimentation. He often subverts preconceived notions about films, as seen in "Resurrection", which not only showcases his technical skills but also pushes the boundaries of narrative storytelling.
As Bi noted during an interview, "I was looking for the seams but I couldn’t find anything." This sentiment encapsulates his dedication to creating seamless and immersive cinematic experiences that blur the lines between reality and fiction.
it feels like just a novelty, you know? i mean its cool and all but how much of the story does it even convey? and what about pacing? its not like we can just sit there for that long without getting restless 
plus have u seen any actual plot developments or character growth? seems like he's more focused on impressing critics than actually telling a meaningful story 
. It's insane how much you can absorb while being glued to one shot. The way Bi Gan uses it to tell a story about time and memory is pure genius 
. I love how he experiments with different techniques, like that karaoke scene 
. And the fact that there aren't even any seams in the shot? Wow, that's some next level filmmaking stuff 
. Bi Gan is definitely pushing the boundaries of cinematic storytelling and inspiring a whole new generation of filmmakers 
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can't wait to see what bi gan comes up with next 
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. This approach not only tests the endurance of viewers but also invites them to immerse themselves in the cinematic world, thereby heightening the emotional impact 
. By rejecting traditional editing techniques, Bi Gan is able to craft a unique viewing experience that challenges our perceptions and redefines the possibilities of storytelling 
i mean who needs a traditional storyline when you can create an entire experience through a single, uninterrupted shot? it's like he's taking us on a wild ride through his own personal history 
and i gotta respect that about him. he's not just trying to impress with fancy tech; he's actually crafting a unique narrative that makes you feel all the feels 
. What if something goes wrong during the shoot? The actor trips or forgets their lines? It's just a matter of time before they mess up and the whole thing falls apart. And don't even get me started on how exhausting it must be for everyone involved, rehearsing day and night like that. I can already imagine the crew being totally burned out by the end of filming 
but at the same time, when you watch it you feel like you're right there with him, experiencing everything first hand 
i love how he experiments with different techniques and pushes what we think is possible in filmmaking 
omg can you even imagine being in a 30 minute unbroken shot 
the way he explains how he worked with his team to make sure every detail was perfect just blows my mind. and that quote about not finding seams in the shot 
and I'm still reeling from it! 
, I've never seen anything like it before. It's like you're right there with the characters on that boat 
or singing karaoke 
, no seams to be found 
. I love how he experiments with storytelling 
, it's not just about telling a story, it's an experience 
. The way Bi pushes the boundaries of storytelling is truly innovative and refreshing. No need for fancy special effects or convoluted plots when you can tell a story in this beautiful, visceral way 
. I'd rather have a good script and some solid editing than all this fancy camera work 
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i can imagine how much prep went into it, months of rehearsals and fine-tuning every detail would've been super draining but wow its paid off. bi gan is like the ultimate innovator in filmmaking, constantly pushing boundaries and making us question what we think is possible with cinema 
... anyway, i guess if you're into that sorta thing, "resurrection" might be the film for you