This may sound strange, but I believe that was the director’s intent. To make a film that would on the surface appear to be aligned with Left so that it he could get it made, but to those with their eyes open, would show the true horror and consequences of the Leftist project.

Told ya about Snow piercer, very NRxn. Esp Ed Harris.

Which means Admin is John Hurt.

Can we talk to Ed Harris? This is taking too long.

Elysium was similar: Matt Damon handed an r-selected proletariat from K-selected humans over to benevolent robots, and we’re supposed to be rooting for Damon. The movie was so overtly Left (and Damon was so ridiculous) that it forced the watcher to think Right in reaction. In my case this forced me out of the movie.

If you want a work that seduces you on the monster’s behalf, read Dune. Hell, *watch* Dune – any of them, even the documentary about the 1970s Dune that didn’t get made.

What’d you think about the ending?

One of the persons I watched the film with got all proggy about it, saying that they could now finally leave the oppressive system. And oh look a polar bear, a sign of life. How great that there is now life outside the train.

What about all the life on the train that was now gone? From an entire train of people to two.

And when the two got outside the train, what was waiting on the other side? A mountain of snow capped with a polar bear. Not a flower or fox or bird, but a massive polar bear who most likely was looking down at the child and woman as food. Without technology, that polar bear is the apex predator — not the human woman and child.

Given the bear outside the train as a sign of life, if they had maintained the system for just awhile longer there was a chance that the entire train of people could have emerged to rebuild.

Check out director Bong Joon-ho’s other films. He’s no stranger to horror:
http://en.wikipedia.org/wiki/Bong_Joon-ho

Just the other day I watched a movie called “Autómata”. It’s not a good movie. The narrative theme and the visuals are derivative — it doesn’t deviate from paths already well-trodden by Asimov, Philip K. Dick, and Ridley Scott, among others — and we’ve seen it all before. But the movie is definitely a part of the sub-genre you’ve just named, in that it depicts a post-collapse caste-society, managed by a corporate overclass that controls everything from the weather to law enforcement. (And benevolently enough, under the circumstances.)

As far as literature is concerned, I think that we could trace the origins of apocalyptic neoreactionary speculative fiction all the way back to Mary Shelley’s “The Last Man” — which is unapologetically NRx, as a central point concerns the breakdown of a dysfunctional democratic system and the return of the Heroic True King to power.

…A full list of speculative fiction with an apocalyptic neoreactionary bent would a while to compile. Not a small sub-genre by any means. We’d even be able to fit “The Day of the Triffids” in there somewhere…