After the unexpected worldwide success of “Parasites”, thanks to the Oscars because Bong Joon-Ho’s cinema already enjoyed prestige and, without going any further, this film had won the Palme d’Or at Cannes, his figure has gone from being “Meat” of festivals and film clubs to be the domain of a wider public. And that the Korean director had recently directed “Okja” for the giant Netflix, which caused some controversy when it reached cinephile samples via “streaming” and not through conventional channels. Now Netflix (in collaboration) adapts in serial format another unusual project by Bong Joon-Ho such as “Snowbreaker”, another harsh allegation of social classism, where wrong politicians try to prevent climate change, ending civilization by freezing the planet. The only survivors live on a perpetual motion train, where the last inhabitants of the Earth are separated into categories, as before. And so the first class have all the luxuries at their fingertips, second is the middle class and third, the proletarians who live poorly. The ruling classes do not hesitate to quell any rebellion through the use of force and the monopoly of violence. An interesting sample of catastrophe cinema, science fiction and denunciation Social. Entertaining and with a cast where Chris Evans and Tilda Swinton stood out.

Without being a masterpiece, it must be recognized that it was immensely superior to this translation to the small screen, which, maintaining the history and spirit of the original, ends up sinking into a narrative that does not “take off” at any time, since everything seems imposed and folded to the postulates of current “political correctness”, to that “woke” thought where the important thing seems that the roles have racial and sexual diversity, among the positive characters, since the negative characters are all white and heterosexual. In addition, the change of female protagonist is not well understood, because in the feature film Tilda Swinton was unreal, a comic book creation, a vulgar employee of Ed Harris’s “machiavelico” Wilford, who only cared about keeping the train running at coast of people and things, reflected in his shocking ending with the treatment of children, in front of a hieratic Jennifer Connelly, too cold to be credible and in a ridiculous personality change to endow him with feminine leadership. I don’t know what they have tried but it doesn’t work Nor the fact of adding one more class, since at three a fourth called “La Cola” joins, of people who have entered the passage without permission and who become outcasts, some plagued people who from time to time replace to some third-class dead to work, like the “undocumented” in first world countries.

And to top it all, the episodes advance in fits and starts, with increasingly unreal situations and inventing a detective story that little by little scratches on the surface makes no sense, and what is worse, boredom, so in the end the characters who They should be gracious to us, they are hateful and situations border on implausibility almost at all times, starting with the crime, continuing with the trial-farce and ending with everything related to “the drawers.” And it is a pity, because a series of ten episodes can complete and improve a two-hour dystopia but it seems that those responsible had more in mind the economic profit and not to bother the new inquisitors. And that appears as executive producers people of the talent of the also Korean Park Chan-Wook or Scott Derrickson, along with Bong Joon-Ho. “Snowpiercer (Rompenieves)” is a clear example of how to make an unnecessary product and how political correctness laminates art, as well as believing that the “mass” to which it is intended does not think excessively, offering everything the most simple and light, with explanatory voice-overs or dialogues that lead the audience. And the open ending offers a continuation, which we are not clear (probably not) if we will see.