Cannes’ New Films: A Journey Through Hallucination and Complexity

The latest films showcased at Cannes are daring, ambitious, and often visually stunning, embracing an eccentric, dreamlike quality. One film, with a lengthy exploration reminiscent of a night journey from 2018, presents an almost otherworldly experience, pushing audiences to reflect on their views of time and memory. This film can be viewed as a portmanteau; while some segments shine brighter than others, it lacks a consistent impact. Nonetheless, it concludes with striking imagery and fluid tracking shots that enhance its overall effect.

The film’s journey might symbolize a long night leading to the dawn of enlightenment, culminating in a place called The Sunrise. This ending aligns with a significant moment that continues to intrigue Chinese filmmakers, particularly in how film collectively explores feelings related to that context.

We find ourselves in an alternate reality where it suggests that if humans stop dreaming—burning bright like candles—they might exist indefinitely. This notion nudges us to think about the implications of overpopulation.

Amidst this, one exceptional character stands out: a dreamer known as The Fantasmer (Jackson Yee). He embodies a paradox, as his fantasies and dreams seemingly allow him to be born and reborn within a landscape rich in historical diversity. Is it the woman who perceives these visions, or is the fantasy itself the one observing?

At the start of the century, The Fantasmer seems rooted in a world akin to an old silent film. With a pale face, he evokes a mysterious woman reminiscent of the vampire Nosferatu (played by the renowned Shu Qi). As World War II unfolds, he finds himself entangled in the tumultuous events of Mirror Shop, perhaps echoing Wells’ involvement in Shanghai’s The Shades.

Fast forward twenty years, and this fantastical character now inhabits a distant, wintry temple, damaging Buddha statues and confronting a vengeful spirit.

Decades later, he becomes a cynical card shark, caught up in schemes against local gangsters. By the dawn of a new century, he encounters another gangster, Luo, as he navigates his own vampiric fate, leading the film into more surreal dimensions.

This film is undeniably mystical, and its title poses an intriguing question: Is there a real “resurrection” occurring, or is it merely a transformation within a continuous flickering reality? Are the fantastical elements throughout the universe various pulsating stars that might explode or collapse over eons?

However, finding answers to these inquiries isn’t the focal point; rather, it’s the film’s captivating essence and grand visuals that might leave some viewers uncertain. Yet, it undeniably stands as a piece of genuine artistry.