Director: Bi Gan
Release date: 2025
Contains spoilers
Bi Gan’s epic film is a 2 hour and 40 minute long meditation on cinema through the ages, an art film that explores its subject in an oneiric fervour, which demands viewer attention.
The premise is that humanity has achieved immortality by sacrificing the ability to dream but there are dissenters to this, known as Deliriants, whose dreaming threatens the fabric of both time and reality. A woman (Shu Qi) searches for a Deliriant (Jackson Yee)…
The first section of the film sees her trying to capture him via a cinema, into an opium den – where he consumes poppy to help him dream and cries tears that supply the den. The film style here is expressionist and the Deliriant referred to as a monster. With his monstrous visage and the use of shadows there was a feel of Murnau and Nosferatu - though this isn’t why I’ve reviewed the film – and with the modern take on expressionism and the silent film I was reminded of Guy Maddin also.
She eventually captures the deliriant and cannot understand why he wishes to dream but, digging into his back, she finds a projector within him and decides to allow him to watch the films/dreams as he dies – a process that will take two hours for her but be a hundred years for him. I will mention at this point that I think you can read Nosferatu as a meditation on film/cinema just as this is. The film then has four dreams in which the deliriant shapeshifts into a role within the dream (each lead played by Jackson Yee), It is the final dream that concerns us.
The dream takes place on New Years Eve 1999 and the opening sees Yee’s Apollo awaken on a dock, that is drenched in red lighting and peppered with firework explosions. The cinematic style of this dream is that of a Long Take – a signature style of Bi Gan – and has Apollo meet a girl – whose first appearance consists of her shadow – and follows them through the streets. She gives her name as Tai Zhaomei (Li Gengxi) and professes that she has never bitten anyone and wishes to do that, he says he has never kissed anyone. The dream follows them together and individually at the times they are separated. It becomes apparent that she is “owned” by Mr Luo (Huang Jue) who seems to be a local mobster.
In actuality, both Mr Luo and Tai are vampires, and he controls her as he holds her grave dirt. Apollo decides to fight for her -though he stands little chance and is severely beaten. They, by the end of the night, make a run for the docks and a ship that is meant to be there and, aboard ship, she admits what she is and shows fang. Mr Luo had not allowed her to drink blood unless it was filtered through him – there is mention of the idea that drinking from a human might make her human – but Apollo is willing to allow her to bite him…
The vampire segment is technically brilliant, the Long Take working exceptionally well, and the whole film is beautifully photographed. The film, I suspect, will form a staple in some academic exploration of cinema and within vampire cinema texts. It can be like wading through a dream at times, and of course it is meant to be just that, with the film offering more and more, I suspect, on repeated watches. It is not going to be for everyone, certainly not a horror, it will be loved by some but its arthouse nature will make it inaccessible for others. I really enjoyed it, 8 out of 10.
The imdb page is here.
On Blu-Ray @ Amazon US
The premise is that humanity has achieved immortality by sacrificing the ability to dream but there are dissenters to this, known as Deliriants, whose dreaming threatens the fabric of both time and reality. A woman (Shu Qi) searches for a Deliriant (Jackson Yee)…
 |
| shadow of the Deliriant |
The first section of the film sees her trying to capture him via a cinema, into an opium den – where he consumes poppy to help him dream and cries tears that supply the den. The film style here is expressionist and the Deliriant referred to as a monster. With his monstrous visage and the use of shadows there was a feel of Murnau and Nosferatu - though this isn’t why I’ve reviewed the film – and with the modern take on expressionism and the silent film I was reminded of Guy Maddin also.
 |
| the Deliriant |
She eventually captures the deliriant and cannot understand why he wishes to dream but, digging into his back, she finds a projector within him and decides to allow him to watch the films/dreams as he dies – a process that will take two hours for her but be a hundred years for him. I will mention at this point that I think you can read Nosferatu as a meditation on film/cinema just as this is. The film then has four dreams in which the deliriant shapeshifts into a role within the dream (each lead played by Jackson Yee), It is the final dream that concerns us.
 |
| Apollo and Tai |
The dream takes place on New Years Eve 1999 and the opening sees Yee’s Apollo awaken on a dock, that is drenched in red lighting and peppered with firework explosions. The cinematic style of this dream is that of a Long Take – a signature style of Bi Gan – and has Apollo meet a girl – whose first appearance consists of her shadow – and follows them through the streets. She gives her name as Tai Zhaomei (Li Gengxi) and professes that she has never bitten anyone and wishes to do that, he says he has never kissed anyone. The dream follows them together and individually at the times they are separated. It becomes apparent that she is “owned” by Mr Luo (Huang Jue) who seems to be a local mobster.
 |
| Huang Jue as Mr Luo |
In actuality, both Mr Luo and Tai are vampires, and he controls her as he holds her grave dirt. Apollo decides to fight for her -though he stands little chance and is severely beaten. They, by the end of the night, make a run for the docks and a ship that is meant to be there and, aboard ship, she admits what she is and shows fang. Mr Luo had not allowed her to drink blood unless it was filtered through him – there is mention of the idea that drinking from a human might make her human – but Apollo is willing to allow her to bite him…
 |
| lshowing fang |
The vampire segment is technically brilliant, the Long Take working exceptionally well, and the whole film is beautifully photographed. The film, I suspect, will form a staple in some academic exploration of cinema and within vampire cinema texts. It can be like wading through a dream at times, and of course it is meant to be just that, with the film offering more and more, I suspect, on repeated watches. It is not going to be for everyone, certainly not a horror, it will be loved by some but its arthouse nature will make it inaccessible for others. I really enjoyed it, 8 out of 10.
The imdb page is here.
On Blu-Ray @ Amazon US
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