The Setting: Earth in 2031, Engulfed by an Ice Age

Based on the acclaimed French comic "Le Transperceneige," this is his first all-English language film. The production is by Park Chan-wook, another globally renowned director representing Korean cinema ("Oldboy," "Stoker"). The main cast includes Chris Evans, who personally auditioned among unknown actors, Tilda Swinton, a self-proclaimed fan of the director, John Hurt, who was moved by Bong's "Mother," and Bong's long-time collaborator Song Kang-ho, among other international actors, creating a grand entertainment spectacle.

While already garnering global attention, few people make such a "world debut" under such favorable conditions. Of course, this is nothing less than a testament to his skill.



The story is set in 2031, on an Earth plunged into an ice age. The only remaining refuge for humanity is the train "Snowpiercer," powered by a perpetual engine. This "Noah's Ark" is divided into a rigid class system, with the wealthy living in luxury and the impoverished in squalor. The starving masses in the rear cars, suffering under the discrimination of those in the opulent front cars, are preparing for revolution.

What's fascinating is not just the plot, but the meticulous details, such as the premise that a chemical agent was released at 6:00 AM on July 1, 2014, to end global warming, and that the train travels 438,000 km of track in one year. These elements lend significant credibility to the film.



So, to create suspense, I came up with the idea of a train that completes a circuit in one year. This setting also allowed for various plot devices. Since everyone has been on the train for years, they know where they are during Christmas or New Year's. This makes time meaningful within the train. Knowing that the next section is a tunnel, then a bridge, leads to various action sequences and suspense, I believe."

"I Love Stories About Ordinary People Striving for a Mission"

Since the entire story unfolds within the train, he wanted to incorporate everything that could possibly happen on a train.



The film excels not only in its dramatic storyline but also in its method of expressing characters' psychology and daily lives through accumulated details. Small environmental descriptions add depth to the narrative, and such carefully crafted scenes make it impossible to look away for even a moment.

"Details are something you naturally focus on, even if you don't try. A film is made up of these small accumulations. They are the core of the film, and also the whole. While this film contains abstract concepts and various messages, I wanted to make it a more visceral experience. I wanted the audience to feel the pain just as the characters do."

"For instance, in a scene where the privileged class punishes the poor, an arm is extended outside the train and frozen. Then, people in suits tap the frozen arm with a spoon. The story could proceed without that scene, but I wanted to convey physical pain, so I included that sound. Focusing on details is my way of working, but it's also proof that I'm a pervert (laughs). It's embarrassing to admit, but I like films that are experienced physically."



The film is also filled with other elements that have become directorial trademarks. For example, the recurring theme of ordinary people achieving extraordinary feats, a motif explored in his previous works: the detectives in "Memories of Murder," the father in "The Host," and the mother in "Mother." The characters in this film, akin to those past protagonists, display unexpected resilience when faced with immense challenges, deeply moving the audience.

"It's not dramatic when someone with superpowers easily completes a mission. What I want to depict is the opposite: an idiot detective solving a case, or a dysfunctional family fighting a monster. I prefer stories where those without abilities strive earnestly to achieve their mission. We are, after all, more like those people."

"We Must Create Courageous Films That Confront Uncomfortable Truths"

Although Min-soo appears for a limited time, he plays a crucial role in the film. Amidst the story of people driven by hatred aiming to destroy the present, he alone envisions a different world.

"Among the various characters, I reflected my own feelings in Song Kang-ho's role. Chris's character is a leader attempting a revolution in this film. He's constantly trying to reach the front cars where the privileged live. But even if he reaches the front cars, it's still just within the train. Min-soo has a different vision in a completely different dimension. I can't say more without spoiling it (laughs). But that's precisely the theme the film tries to convey. What seemed like a wall is actually a door. Of course, it's not easy and involves a difficult process, but in a way, it can be called a true revolution."



Even in his entertainment works, Bong's films are imbued with a powerful message. Essential to conveying this message is the depiction of human nature. Like his previous works, this film portrays the raw essence of humanity under extreme conditions, which inevitably forces a confrontation with our uglier aspects. Yet, why does he choose to tackle this theme?

"Humans are, in reality, more complex than we think, and there are many uncomfortable truths we'd rather not know. Depicting this in a two-hour film is not easy. But just because it's difficult, we shouldn't create purely escapist entertainment that glosses over everything with happiness, or people will grow weary of movies. I believe we must create courageous films that confront these uncomfortable truths, even amidst cinematic excitement."

Snowpiercer

Opening Friday, February 7th, at TOHO Cinemas Roppongi Hills and other theaters nationwide.

Director: Bong Joon-ho

Starring: Chris Evans, Song Kang-ho, Tilda Swinton, Octavia Spencer, Jamie Bell, Young Adam, John Hurt, Ed Harris

Screenplay: Bong Joon-ho, Kelly Masterson

Cinematography: Hong Kyung-pyo

2013 / South Korea, USA, France / 125 minutes

Distribution: Bitters End, KADOKAWA

http://www.snowpiercer.jp


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