Accordions the Snowpiercer into a box of theater we see written in real time before we realize it’s cinema after all in all its ideas about space and time, which cohere with its ideas about class all the way down to when the lights go on or off. The warfare/perspectives/masks story beats are the kind of support good dramaturgy can give to images/ideas. It’s what filmmaker dreams are made of. Not that I want all movies to be a Rubik’s Cubes, but nor does Bong. He just sees the game of it all, and the pleasure of playing it to its logical conclusions. Taking off of what Danny wrote from Cannes, Bong’s better than De Palma but he takes some image-wit from BDP’s set-pieces, he takes a complete narrative “legibility” from Carpenter, and a keen eye for exactly where to put the camera from Stevie. Both of those French ideas at once—mise-en-scène, découpage—and something Russian about montage.

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