Transperceneige Fin Explication Essay

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Manichaean dialectically controlled revolution. Image;

Manichaean dialectically controlled revolution. Image;

By: Jay Dyer

Snowpiercer stands out as a recent example of a trend fans of film are witnessing more of: philosophically-focused science fiction and fantasy.  While it could be argued that many science fiction classics deal with some philosophical themes, the trend has become far more common than in previous decades.  In the last several years, films such as After the Dark, The Double, Enemy, Another Earth, as well as many others ask audiences to grapple with complex conundrums such as globalism, meaning and the self, morality and death, and even deeper esoteric questions, like alternate worlds and mystical symbology.  While Hollywood is busy with found-footage horror, cynical raunchy comedies and comic book blockbusters (the latter of which do incorporate conspiriana), lesser-known independent films are touching on far more abtruse matters that extend beyond the realm of the political.  Seeing new films clearly influenced by Terry Gilliam, for example, is a welcomed beacon of hope.  A rebellion in the arts towards asking meaningful questions that challenge social engineering and prepackaged think tank paradigms is precisely what is needed, and that is partly my intention with this site.

Based on the French graphic novel Le Transperceneige, Snowpiercer is Korean filmmaker Bong Joon-ho’s first English release.  The plot involves a post-apocalyptic world that has entered a new ice age due to mankind’s failed geoengineering and climate-altering hubris.  The amorphous chemical “CW7” is sprayed globally to halt a supposed “global warming” catastrophe, while the ice age actually occurs as a result of the chemical spraying, and not “climate change.”  To see a film present the very real threat of geoengineering and climate alteration through aerosol spraying, as well as questioning the “global warming” hoax (now morphed into “climate change” by public relations consultants) is startling to say the least.  While there may be some film that has previously questioned these establishment orthodoxies, I am not aware of it.  For unknowing skeptics and system hacks, I present two clear examples of the reality of aerosol chemical spraying (“chemtrails,” as opposed to normal ice crystal “con trails”) and geoengineering that are undeniable.

The first is The Guardian’s piece on Bill Gates’ support for geoengineering, under the very auspices Snowpiercer questions – global warming. The Guardian reports in its 2012 article, ‘Bill Gates Backs Climate Scientists Lobbying for Large-Scale Geoengineering’:

“A small group of leading climate scientists, financially supported by billionaires including Bill Gates, are lobbying governments and international bodies to back experiments into manipulating the climate on a global scale to avoid catastrophic climate change.  The scientists, who advocate geoengineering methods such as spraying millions of tonnes of reflective particles of sulphur dioxide 30 miles above earth, argue that a “plan B” for climate change will be needed if the UN and politicians cannot agree to making the necessary cuts in greenhouse gases, and say the US government and others should pay for a major programme of international research.”

Atmospheric aerosol spraying and geoengineering opens Snowpiercer.

Skeptics are likely to claim this is only theoretical, inasmuch as the article reports on scientists merely calling for this, as opposed to it actually being accomplished.  Such naiveté is common on these matters, as so-called skeptics perpetually display their own ignorance of establishment tendencies.  Like the taunting of psychopathic criminals, whatever is “called for” in the news is generally what’s actually been practiced for a long while, and aerosol geoengineering and atmospheric manipulation is no exception.  The technology is decades old, and began as weather warfare during World War II, where seasonal changes and storms could be harnessed to harm enemy resources through controlled droughts, floods, etc.  Earthquake weaponry also falls into this category, as well as biological waarfare, EMPs and HAARP, all falling under the broad umbrella of the concept of weaponized nature.  However, for hardened skeptics, I refer to the even stronger example of the Stanford VLF Group, which openly publishes dozens of scientific papers on HAARP, atmospheric aerosol spraying, geoengineering, frequency manipulation, and other advanced research projects.


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Snowpiercer begins with planes spraying the sky, while news casts report the importance of CW7 as the last hope to save humanity.  As a result, virtually all life on earth perishes, while a small number of “chosen” are whisked away aboard a high-speed perpetual motion-run train that circles the globe.  A perpetual motion machine is, in fact, a holy grail of technology, as its desire grew from the mechanistic model of the universe that gained sway in the Enlightenment.  From the Enlightenment came the reign of quantity and rationalization of all reality into the collapsed, reductionist grand narrative of evolutionary materialism.  Within this paradigm, man is viewed as a cog in the deterministic, naturalistic machine of the inanimate, eternal and universal ecosystem.  In this view, the symbiotic ecosystem requires an inchoate metaphysical principle of “balance,” and thus the Malthusian presuppositions of eugenics come into play, removing man from his previous position of ordained steward of creation under God, to an impersonal artifact on a social Darwinian ladder, who must ever grapple to become the fittest.  The “fittest” then rapaciously destroy one another to subjugate and dominate nature en toto, in order to transcend it.  The culmination of this worldview is, of course, transhumanism, and Snowpiercer will become, as I argue, a warning for this worldview.

Malthusian themes of “sustainability” where the train’s ecosystem must be kept in “balance” through continual murder.

Protagonist Curtis (Chris Evans) plays the revolutionary leader of the “back” of the train, who, under the tutelage of the aging former leader Gilliam (John Hurt), must organize the final rebellion against the tyrannical “front” of the train.  Class warfare clearly comes to the fore, as the front of the train are all presented as decadent elite, wining and dining on the finest delicacies, enjoying every possible luxury a train can afford, while the workers at the back are forced by a brutal police state to produce for the parasitical front.  Minister Mason (Tilda Swinton) heads up the front class’ security forces in a role reminiscent of something akin to Mao Tse Tung’s wife, Jiang Qing.  Her communist dictator persona may seem out-of-place, given the monopolistic capitalism of the train’s inventor, Mr. Wilford (Ed Harris), yet regular readers will be familiar with the longtime argumentation presented here that communism and monopoly capitalism are flip sides of the same dialectical coin.  The corporate fascism of Wilford works hand in hand with the dictatorial militaristic police state polices of Minister Mason.  It is also not accidental that her name is Mason, given the history of world freemasonry exhibits a clear proclivity for communism, from Robespierre and Marat to Salvador Allende.  Communism and fascism are both political technologies designed to suit the same totalitarian ends.

Brainwashed children of Wilford Industries.

As the Curtis Revolution progresses, car by car, each compartment gives a new revelation of the dark nature of the system.  The train’s unbending regimented eugenics policies and schoolhouse indoctrination programs emerge are the most significant, as viewers witness a classroom propaganda video portraying Mr. Wilford as a literal god and savior.  Here the film’s symbolism used to describe the train exemplifies an important deeper message.  The train is compared symbolically three ways in the narrative: to a machine, to the world, and to a human body.  Early on, as an angry worker loses his arm as a punishment, Minister Mason curiously describes the train as a body with a “head” and a “foot.”  “Everything must stay in its preordained place,” she exclaims, as the foot trying to become the head leads to chaos, and chaos means the dissolution of mankind and loss of the train’s balanced ecosystem.  As the insurrection seizes the car associated with water production, a captive Minister Mason informs Curtis that water comes “from the mouth of the train, not the bum,” and that a resource war will harm all the train’s inhabitants.  When Curtis reaches the front of the train, Wilford gives the descriptive imagery of the train as “an eternal machine” and as “the world,” but its significance will be detailed below.

While the revolution progresses, Curtis gradually begins to make tough moral choices that reveal more about his pragmatic designs to the viewer, as well as to himself.  Curtis is forced to sacrifice his friend’s life to apprehend Minister Mason, then shoot Mason in the head, as well as admitting to cannibalism in the past to survive.  Curtis slowly grasps that his own nature is quite cruel, calculating and vicious, and the difficulty of holding everyone to his egalitarian and equalitarian moral standards becomes more challenging.  By the time Curtis reaches the front car and the engine, Wilford divulges the entire regime change was staged and engineered.  Gilliam, the old revolutionary leader, is actually Wilford’s old friend, with a special direct phone line that communicates front to back.  Gilliam and the revolution are then sacrificed by Wilford to maintain the 74% eco-balance for “sustainability.”

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Wilford’s monologue then paints the train as the world, revealing to Curtis that all along the plan was to offer him leadership of the train, replacing Wilford.  Since Curtis was the first worker to make a successful coup and reach the front, he was in a unique position to have seen the entire “machine” and its full hierarchical order, as no one else had.  Wilford explains that the train must be ruled by “anxiety, fear and horror” in a balance to psychologically manipulate and control the masses.  Meanwhile, the Curtis Revolution explodes into full anarchy and Wilford whispers to Curtis that without a hero, the train won’t run.  “The eternal engine. It is eternity itself,” Wilford sneers, waiting for Curtis to accept the implications of his failed mutiny.  The crucial point in all this is…..

This analysis is now expanded in published form. To read the rest, please click the image below and order a copy of Jay’s book! 

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JaysAnalysis has grown to become one of the premier film and philosophy sites on the net, showcasing the talents of Jay Dyer, whose graduate work focused on the interplay of film, geopolitics, espionage and psychological warfare.  Jay is a public speaker, lecturer, comedian and author of the popular title Esoteric Hollywood: Sex, Cults and Symbols in Film, which made it to Amazon’s No. 1 spot in its first month of release in the Film and Hollywood Category:

Known for his in-depth commentary, satire and celebrity impressions, Jay is the host of the JaysAnalysis Podcast and Esoteric Hollywood. He is academically published, a regular contributor to 21stCenturyWire, Soul of the East and the Espionage History Archive, as well as appearing on numerous nationally syndicated radio shows, such as Ground Zero and Coast to Coast AM, as well as TV shows like Buzzsaw with Sean Stone.  

Broaching subjects as wide as satire, metaphysics, film analysis, theology, geopolitics, literature and history, as well as interviewing numerous prominent figures, Jay is academically published in peer review and has authored hundreds of articles already read by millions in just the past few years.  Jay Dyer has also co-created, written, and co-starred with Jay Weidner in a new television series titled Hollywood Decoded for Gaia based on his unique approach to film.

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