More than two decades after one of the biggest religious movies ever released became a global box office phenomenon, its long-gestating follow-up has taken a major step forward. The project has been stuck in the rumor mill for years, with delays, script chatter, casting changes, and Mel Gibson repeatedly teasing that the story would go somewhere far stranger than audiences might expect. Now, the sequel has officially finished shooting.
Videos that dropped across social media in the last few days have confirmed that The Resurrection of the Christ, the official sequel to The Passion of the Christ, has wrapped filming in Italy. The Resurrection of the Christ: Part One is currently set to open on March 26, 2027, with The Resurrection of the Christ: Part Two following on May 6, 2027. If you’re a Biblical scholar, or just a general knowledge quiz lover, you’ll know these dates are not random either, with Part One arriving on Good Friday and Part Two landing on Ascension Day, 40 days later.
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
Who’s in ‘The Resurrection of the Christ’?
The sequel has also undergone a major casting shift. Rather than bringing back Jim Caviezel, Monica Bellucci, Maia Morgenstern, and other original cast members, the new films feature a recast ensemble. The cast includes Jaakko Ohtonen (The Last Kingdom, Vikings: Valhalla) as Jesus, Mariela Garriga (Mission: Impossible — Dead Reckoning, Nightmare Cinema) as Mary Magdalene, Pier Luigi Pasino (Devils, The Law According to Lidia Poët) as Peter, Kasia Smutniak (From Paris with Love, Perfect Strangers) as Mary, Riccardo Scamarcio (John Wick: Chapter 2, A Haunting in Venice) as Pontius Pilate, and Rupert Everett (My Best Friend’s Wedding, The Importance of Being Earnest) as Abraham.
Gibson has been teasing The Resurrection of the Christ for years, and the project has sounded straight-up bonkers from the start. He previously said the story would not simply retell the events after the crucifixion in the way you’d expect, but would dig into more surreal and theological territory, including Hell, Sheol, the fall of the angels, and the origin of Satan. You know, usual stuff. Again, he called it an “acid trip,” which is not usually the phrase you expect to see attached to a Bible sequel, but here we are, bring it on.
The Resurrection of the Christ: Part One is scheduled to open on March 26, 2027, followed by The Resurrection of the Christ: Part Two on May 6, 2027.
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