Mel Gibson recently shared fresh details about his long-anticipated film The Resurrection of Christ, describing it as a deeply ambitious and theologically rich project that has taken nearly a decade to write. He explained that the process was extremely difficult because, as he put it, “it’s a very complex and almost impossible to understand subject.”
Gibson revealed that one of the core questions the film aims to explore is why Jesus would willingly die for humanity, stating bluntly, “We’re just a bunch of f***ed up things.”
Speaking at Fan Expo Philadelphia, Gibson announced that filming will begin in 2026 through a partnership with Lionsgate, who holds global distribution rights. He emphasized the scale and depth of the script, noting: “It took me about eight years to write the script for the sequel, if we can call that The Resurrection of Christ, because it’s a very complex and almost impossible to understand subject, so that necessarily you have to underpin it with a great deal of all of salvation history and theology.”
According to Gibson, understanding the significance of Jesus’ resurrection involves asking profound existential and spiritual questions: “Why is mankind so important in this process? Why are the big realms of good and evil slugging it up for the hearts and minds and souls of mankind? Why us? We’re just a bunch of f***ed up things.” He added, “You have to ask yourself, why are we important? Why are we making the sandwich? That whole huge story. And I think in order to understand that, you have to, you have to start with the fall of the angels in the firmament, before right at the beginning, is pretty crazy idea, what did that look like? I know what it looks like. It’s not one film, it’s two films, because it’s massive.”
The original film, The Passion of the Christ, released in 2004, was a massive success, earning $600 million globally on a $30 million budget. It stirred division among Christians—some praised it and used it as a ministry tool, while others criticized it for promoting Roman Catholic themes, its violent content, and elements they considered blasphemous.
The sequel has faced numerous delays and challenges over the years, but now appears to be moving forward. While the first film focused on the final 12 hours of Jesus’ life, the upcoming sequel will cover the aftermath of his death, including his time in Hell and the fall of Lucifer. Jim Caviezel and Maia Morgenstern will reprise their roles as Jesus and Mary, respectively.
Gibson noted how intricate the structure of the film must be: “It is such a massive undertaking that you can’t do it lightly and you can’t do it quickly. You have to really consider what it is that you need to show in order to be poignant. It can’t be linear; you have to have many things to juxtapose against one another even from different time periods in order to illustrate what something means in a more full way. And I think it’s going to be a real jigsaw puzzle to do.”
He revealed that he has two versions of the script: “And I have two scripts right, and one of them is very structured and a very strong script and kind of more what you’d expect. And the other is like an acid trip and because you’re going into other realms and stuff. I mean you’re in hell.. It’s like, you know, you’re watching the angels fall..”
On a recent appearance on Joe Rogan’s podcast, Gibson expanded on the scope of the story and its unconventional narrative: “[The script is] an acid trip. I’ve never read anything like it. There’s some crazy stuff. In order to tell the story properly you have to start with the fall of the angels. You’re in another realm. You need to go Hell. You need to go to Sheol. You got to have [Satan’s] origin. I have ideas about how to do that and how to evoke things about to depict that. I’ve been thinking about that for a long time. It’s going to require a lot of planning. I’m not sure I can pull it off. It’s super ambitious, but I’m going to take a crack at it … It’s about trying to find a way in that’s not cheesy or obvious. It’s almost like a magic trick. [The story] goes from the fall of the angels to the death of the last apostle.”
COMMENTARY:
Mel Gibson’s decision to expand the biblical narrative beyond the Crucifixion into the mysterious and theologically rich territory of the Resurrection and the descent into Hell is both bold and necessary. Many Christians affirm Christ’s victory over death but give little thought to the interim period—the three days when Jesus was “in the heart of the earth.” This film has the potential to give fresh insight into a part of the Gospel story that has long been misunderstood or neglected.
One of the most powerful ideas Gibson seems to be pursuing is the redemption of those in Paradise, sometimes referred to as “Abraham’s Bosom.” Scripture indicates that the faithful who died before Christ awaited the fulfillment of God’s redemptive plan. They were not lost, but they were not yet fully redeemed, as redemption was only made complete through Christ’s death and resurrection. As Ephesians 4:8 states, “When He ascended on high, He led captivity captive.” This moment in redemptive history is crucial and deserves serious attention.
Gibson’s vision appears to embrace this deep theological concept by portraying Christ not just as a suffering servant, but as a victorious king descending into the realm of the dead to liberate the righteous. This is an essential part of Christian doctrine. It reflects the fullness of Christ’s mission—not just to die for sin, but to conquer death itself and proclaim victory to those who had waited faithfully.
It’s also valuable that Gibson isn’t shying away from portraying spiritual warfare on a cosmic level. As he put it, the question is, “Why are the big realms of good and evil slugging it up for the hearts and minds and souls of mankind?” That’s a profound and accurate way to describe what’s at stake. Christianity is not merely a moral code; it’s a story of eternal conflict between good and evil, with human souls at the center.
Moreover, the inclusion of the fall of the angels and the origin of Satan adds a valuable layer to the narrative. If we’re going to understand why Christ had to die and descend to the underworld, we need to understand the spiritual rebellion that made such a mission necessary. This isn’t just storytelling—it’s theology in action, and it can help modern audiences grasp the larger context of salvation history.
The film’s proposed nonlinear storytelling is also fitting. The Resurrection and its surrounding events are not merely chronological—they are transcendent. Juxtaposing scenes from different spiritual and historical realities could mirror the way God’s plan operates across time and space. This isn’t about artistic gimmicks; it’s about portraying truth that is often too deep to express in a straight line.
For too long, Hollywood has shied away from portraying faith with theological depth and sincerity. Gibson, despite criticism, has never backed down from telling stories of faith with gravity and realism. The Passion of the Christ wasn’t sanitized for comfort, and The Resurrection of Christ looks like it won’t be either. That’s a good thing. Christians need media that challenges them, provokes reflection, and encourages deeper study of Scripture.
This project also represents an opportunity for Christian unity. Though some may disagree on details of theology, nearly all branches of Christianity affirm the Apostle’s Creed statement: “He descended into Hell.” Gibson’s exploration of what that descent entailed invites believers from various traditions to reflect on Christ’s complete work—not just His suffering, but His conquest.
Ultimately, The Resurrection of Christ could serve as a reminder that Jesus didn’t simply die for us—He actively went to war for us. He stormed the gates of death and hell, set captives free, and rose triumphant. That is worth telling. That is worth showing. And it’s worth supporting filmmakers like Gibson who are willing to take the risk and get it right.
In conclusion, I fully support what Mel Gibson is doing. It’s a rare thing for a mainstream director to attempt something so spiritually and artistically ambitious. And in a time when much of popular culture trivializes faith, a film that seeks to explore the full power of the Resurrection—especially what it meant for those in Paradise—is not only timely, it’s essential.
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