Mel Gibson’s new film on the Resurrection: a metaphysical ‘acid trip’ into the supernatural

Tom Colsy• April 30, 2025

Mel Gibson’s return to biblical cinema is underway with The Resurrection of the Christ, the long-anticipated sequel to his 2004 epic The Passion of the Christ. This new film, which begins filming in 2026, promises to transcend a straightforward retelling of the Resurrection, instead offering a sweeping, supernatural vision of Christ’s victory over death.

Gibson has described it as an exploration of “another realm” – beginning with the exile of the demons from heaven’s court, descending into hell, and culminating in the glory of the Resurrection.

Given its scope, the film will not follow a typical, linear structure. According to Gibson, it will rather opt for a theologically rich metaphysical approach – one with which those who saw The Passion will be familiar (particularly in the scenes containing Judas or Satan).

Speaking to Joe Rogan on a recent podcast, Gibson disclosed that “[i]n order to really tell the story properly, you have to really start with the fall of the angels. You need to go to hell.”

Co-written with his brother Donal and with longtime collaborator Randall Wallace, the script took over six years to refine. Gibson believes The Resurrection will be the most difficult and ambitious challenge of his career.

“There’s a lot required because it is – I’ll just tell you this – it’s an acid trip,” he said.

Gibson nevertheless desires to meticulously commit to historical and theological authenticity, asserting, “I regard the Gospels as history. It’s verifiable history.”

Jim Caviezel, who delivered an impactful and physically mortifying performance as Jesus in The Passion, will reprise the role in the sequel. Despite the 20-year gap since the original film, Caviezel’s return will be made seamless through advanced de-aging technology, ensuring continuity in his portrayal of Christ at the age of 33 years old.

Filming is to begin in 2026 at Rome’s renowned Cinecittà Studios, with additional scenes planned in ancient southern Italian towns such as Matera, Ginosa, Gravina, Laterza and Altamura – locations chosen for their historical authenticity and visual resonance with first-century Judea.

Matera, in the Italian region of Basilicata, was used as the convincing filming location for Jerusalem in The Passion, particularly during the Via Dolorosa scenes. In this choice, further continuity will be ensured between the two biblical epics Gibson will have directed.

However, other continuities will not be possible. In 2023, Gibson mourned the loss of Christo Jivkov, the Bulgarian actor who played St John the Apostle. Given St John’s prominent role among the twelve, and his importance in the early Church after the Resurrection, Jivkov’s sorely missed presence will present a challenge to the upcoming film.

Gibson’s artistic vision is deeply informed by his faith. A longtime passionate Sedevacantist Catholic – someone who rejects popes and innovations in the Catholic Church following Vatican II – with a longstanding devotion to the Latin Mass, he has consistently used film as a medium to explore spiritual truth. “I do actually believe this stuff to the full,” he told Rogan – an outlook that has not only guided his creative direction but also shaped the spiritual atmosphere on his film sets.

This was especially evident during the making of The Passion of the Christ, which was marked by a series of extraordinary and, for many, providential occurrences. One of the most remarkable events involved lightning striking (literally) actor Jim Caviezel – not once, but twice. During the filming of the Sermon on the Mount scene, Caviezel was struck directly in front of a plethora of onlookers who rushed over to provide medical assistance; a crew member was subsequently also hit. Caviezel later described the experience, saying he felt “light surrounding his body” before losing consciousness.

The strange occurrences didn’t stop there. In addition to the lightning strikes, Caviezel also endured a dislocated shoulder during the scourging scenes, was accidentally lashed with a real whip that tore a 14-inch gash across his spine, and developed pneumonia and hypothermia during the crucifixion sequences. “Every day, I was carrying my cross,” Caviezel later reflected. Yet he was convinced that the physical suffering added spiritual depth to his portrayal.

Even more significant were the spiritual transformations that took place among the cast and crew. Several individuals, including Luca Lionello, who played Judas Iscariot, experienced profound conversions to Christianity or returned to the Church after filming. Lionello, who had been an outspoken atheist, credited the experience of playing Judas and being part of the film with opening his heart to faith.

Many others on set reported feeling a palpable spiritual presence during key scenes, especially during the crucifixion. There were reports of spontaneous prayer, reverence and even weeping among non-religious crew members. These occurrences – many of which were confirmed or disclosed only years later – were not treated as publicity stunts but as signs that something greater was at work, making The Passion not just a film but an experience that transcended the screen.

Then, there was the opposition arraigned against the film. Before The Passion even hit theatres, it experienced an unusual level of hostility and challenge. Gibson described how no established producing consortium or studio would take the project. According to Gibson, Rupert Murdoch had been interested – but was reportedly threatened if he did.

“And then somebody advised him and said he’d be out of business in five years – Rupert Murdoch!…in five years if he distributed that…And I was like, wow. If he’s scared…I’m gonna…I’m gonna crash and burn here,” Gibson revealed.

When the film was released, it nevertheless performed incredibly well at the box office. Distributed by a minor company, and having eschewed traditional Hollywood giants, it was the first to do manage such a feat and typically shouldn’t have.

It nevertheless immediately received a slurry of scathing onslaught from secular media, influenced by a campaign from Abraham Foxman at the Anti-Defamation League, accusing the film of antisemitism. This was despite the fact both the film’s heroes and heroines are Jewish – and even some members of the Sanhedrin and Pharisees are portrayed sympathetically. Maia Morgenstern, the Romanian-Jewish actress who played Mary, publicly defended the film against the ludicrous charges of antisemitism.

The plethora of unusual events surrounding the film, both on set and then surrounding its release, have been noted by observers, especially the faithful. Other eerie and unusual anecdotes include the fact that Jim Caveziel’s initials match those of the great mysterious figure he portrayed, and that the name of Maia Morgenstern translates from German and Yiddish as “Mary Star of the Morning” – a typical title for the Virgin Mary. Many have noted that all this combines to serve as a powerful reminder of otherworldly forces at play – both in favour of and against the film’s creation.

This intense spiritual atmosphere is expected to carry over into The Resurrection of the Christ. Gibson has called it “the biggest challenge of my life”, emphasising that the film is not intended to replicate the success of its predecessor but to complete the spiritual narrative. While The Passion focused on Christ’s suffering and death, the new film will centre on His victory – His triumph over death, His harrowing of Hell, and His transformation of the world. “Who gets back up three days later after He gets murdered in public? Who gets back up under His own power?” Gibson asks. “Buddha didn’t do that s***.”

With a deep commitment to theological accuracy and spiritual depth, The Resurrection of the Christ promises to be a film that not only tells the story of the Resurrection but invites reflection on its cosmic and historical significance. With Caviezel’s return, Gibson’s profound faith, and the lessons learned from the challenges of The Passion, the sequel is shaping up to be not just a cinematic event, but an act of devotion. If the atmosphere on the previous film set is any indication, audiences can expect something much more than spectacle – something sacred.

RELATED: Mel Gibson sequel to ‘The Passion’ to start filming in August after 20-year wait

Photo: Peruvian clergymen depart the cinema after watching Mel Gibson’s biblical blockbuster ‘The Passion of the Christ, Lima, Peru, 11 March 2004. (Photo credit ALEJANDRA BRUN/AFP via Getty Images.)