An allegory for capitalism?
“The problem with calling the movie an allegory is that allegory doesn’t tell you anything you didn’t already know, and it hides the thing you didn’t realize it was persuading you of. Allegories are closed ecologies. If Snowpiercer is a movie about capitalism, then we already know what it is, and says, because we already know what we know about capitalism. If you think a death-train of the damned in a post-apocalyptic hellscape is an allegory about capitalism, then it’s because you think capitalism is a death-train of the damned in a post-apocalyptic hellscape. But if everyone knows that the train is an allegory for industrial capitalism—and everybody certainly seems to—then it’s not a secret, and not the kind of allegory Jameson was talking about when he described anti-capitalism as our political unconscious. It’s anything but the kind of unspeakable, repressed truth that we all pretend not to know, even to ourselves; the fact that the train is capitalism is the thing we allow ourselves to talk about because we’re afraid to talk about the real thing it is, which is death, our fear of death, and our desire for the thing we fear. We’re all going to the same place, and we’re all going nowhere at the same time; there is nothing outside of life, nor is it enough. There isn’t a happy ending, just an ending. And so forth.”
“Capitalism’s genius is its ability to co-opt every attempt at resistance; every revolution is engineered within the system, with the permission of the system, according to terms defined by the system. Which is why the exploitative conditions of capitalism–its visceral and mundane horrors–have persisted for so very long: they seem to be driven by a “sacred engine” which will run perfectly forever. ”
‘This last scene suggests that white Westerners are too compromised and complicit with the capitalist system to bring about its downfall–inevitably, they will shore it up as “the lesser evil”. True revolution against capitalism must come from elsewhere. [Yona’s words to Curtis could be the film’s words to America and the West at large: “you’re fucked.”] ”