The slow motions should not be taken for granted, only great, great filmmakers know how to shoot it.
Joon-Ho Bong, the co-writer and the director of this dream project sectioned under sci-fi is constraining your imagination through meticulously crafted set pieces. In a way one can say that this is completely opposite to the Blade Runner world. While both are actually widening your eyes to behold the threat a film can possess on its society and history. The procedure is completely opposite. Now, one can argue that infinity is the final excelsior or that finiteness is the only excelsior. What cannot be ignored, is the fact Bong’s film is a treat. A resource. That can be dug for years to come and still will bless the street with its light.
As you might know by the logline of the film that it resembles a lot with the Noah’s ark, the film is actually set in the future with the subtext that the history is repeating itself. And it is that irritation, the annoyance of the inevitable partiality; that is not politically motivated, but historically manipulated that stabs you and the characters in their heart. Even at the brink of humanity or arguably a new age ready to give birth, the human nature is told to be slave of the historians and the lessons they came up with.
This is the commercial line. Incredibly rich. The struggling ones, the artists on the other hand are moving on by collecting what is present in front of their eyes possibly even capturing the moment like a photograph. And hence the reason why our sung hero, Chris Evans, the one, that embarks himself on a journey to move forward at a great price, that once again, his older generation had already paid. Snowpiercer is a many thing, 300 words cannot define it, just as two hours and a train couldn’t; the finiteness lost because of the mole that spoiled the essence.