In this in-depth analysis, I will explore the film “Society of Snow,” directed by JA Bayona and based on the book by Uruguayan journalist Pablo Vierci. This film revisits the harrowing tale of the 1972 Uruguayan air crash in the Andes and the subsequent ordeal of the survivors, who resorted to cannibalism to stay alive. This story, deeply ingrained in the collective memory due to its profound ethical implications and sheer emotional weight, offers fertile ground for analysis through the philosophical lens of Henri Bergson. Bergson’s concepts of time, memory, and life force provide insightful frameworks to understand not just the narrative of Society of Snow, but also its broader implications in the context of the Anthropocene.

Film Summary and Origin

“Society of Snow” compellingly revisits the chilling narrative of the 1972 disaster that befell a Uruguayan rugby team, whose flight met with catastrophe in the isolated reaches of the Andes. Stripped of the essentials for survival—food, shelter, and medical supplies—the group confronted the harrowing extremity of their predicament. With rescue a dim hope and their situation dire, they faced a decision that would etch their story in the annals of human endurance: the choice to engage in cannibalism to sustain their lives. This film, drawing inspiration from Vierci’s detailed account, subtly weaves in the philosophical and ethical complexities surrounding cannibalism, echoing themes that Piers Paul Read illuminated in “Alive: The Story of the Andes Survivors.” The act, depicted as a sombre communion amongst those teetering on the brink of existence, becomes a symbol of a profound, albeit tragic, bond forged in the shadow of death.

Director JA Bayona, whose repertoire includes both the eerie depths of horror and the nuanced portrayal of survival’s emotional landscape, navigates this delicate narrative with a deft hand. He melds the raw terror inherent in their predicament with an exploration of the enduring human spirit and the intricate web of relationships that become the survivors’ lifeline. Bayona’s cinematic approach does not merely recount a tale of survival against odds; it delves into the resilience and solidarity that emerge from the crucible of shared adversity. Through his lens, “Society of Snow” transcends the bounds of a survival story to probe the essence of humanity faced with the unthinkable, offering viewers a meditation on survival, ethics, and the indomitable will to live bound by a solemn fellowship in the harshest of realms.

Analysis Through Bergson’s Philosophy

Time and Duration in the Andes

In the heart of the Andes, where “Society of Snow” unfolds its tragic narrative, Bergson’s philosophy of time and duration finds a profound echo. Here, amidst the stark, unyielding expanse of snow and sky, the survivors’ ordeal transcends the mere ticking of clocks and the calendar’s march. The film, with its poignant portrayal of their struggle, delves into an environment where chronological time—measured, segmented, and relentlessly forward-moving—collapses into the immediate, raw experience of survival. This narrative choice not only frames the human endeavour against the backdrop of nature’s indomitable will but also mirrors Bergson’s insightful distinction between measurable time and experienced duration (Bergson, 1910).

As the screen quietly marks the passage of days, a gesture towards the linear temporality that governs the world beyond the Andes, the survivors themselves grapple with a temporal experience that refuses such neat segmentation. In the Andes, time does not march; it flows, ebbs, and swirls around the lived moments of fear, hope, despair, and determination. This divergence creates a poignant tension within the film’s narrative, a dance between the linear progression of time as counted by days and the deeply personal, fluid experience of duration that envelops the survivors.

Time That Is Felt Rather Than Counted

Bergson’s concept of duration, with its emphasis on the qualitative experience of time that is felt rather than counted, offers a lens to understand the emotional and psychological depth of the survivors’ journey. In the film, this journey through time is not a simple linear trajectory but a complex tapestry of moments and memories that defy the conventional boundaries of past, present, and future. The Andes, with their timeless majesty and unforgiving presence, become a character in their own right, imposing their own timeline—a timeline not of hours and days, but of elemental forces, survival instincts, and the raw immediacy of existence.

This portrayal challenges the viewers to engage with time on a more intuitive level, inviting them to feel the weight of each moment and the depth of each decision in their bones. The film’s narrative, woven through the survivors’ lived experience of duration, becomes a poetic exploration of human resilience and vulnerability in the face of an indifferent universe. It speaks to the heart of Bergson’s philosophy, where time is not merely a backdrop against which actions unfold but a fundamental aspect of the human condition, deeply intertwined with our emotions, memories, and identities.

The Essence of Time in “Society of Snow”

Through “Society of Snow,” we are reminded that in the vast, silent expanse of the Andes, time becomes not a measure but a medium, within which the human spirit is tested, broken, and ultimately, transcendentally reborn. The survivors, in their forced adherence to linear temporality amidst a landscape that defies such constraints, embody the very essence of Bergson’s duration—living proof that time, in its most profound sense, is the fabric of our being, woven from the threads of our deepest fears, hopes, and loves.

Memory and the Fabric of Survival

Within the stark, unforgiving embrace of the Andes, as depicted in “Society of Snow,” memory becomes more than a passive repository of the past; it transforms into the very sinew and soul of survival. Bergson’s vision of memory, as a vibrant, pulsating force that shapes the contours of the present and the trajectory of the future, finds a poignant reflection in the survivors’ journey (Bergson, 1896). This film, in its haunting depiction of their ordeal, weaves memory into the fabric of survival, demonstrating how recollections of love, camaraderie, loss, and life before the crash become the threads from which their new reality is spun.

As the survivors navigate the desolation of their snow-bound purgatory, their memories—each a fragment of their former selves—meld into a collective consciousness that guides their actions and decisions. These memories, charged with the emotional weight of their previous existences, infuse the bleak landscape with shadows of the world they once knew. It is through this lens of shared and individual pasts that the survivors interpret their present, making choices that are imbued with the essence of who they were and who they hope to remain.

Memory as a Constructive Force

The film meticulously explores how memory, in Bergson’s terms, is not merely reflective but constitutive of reality. It acts as a beacon, illuminating the path forward while casting long shadows of doubt and moral quandary. The ethical dilemmas faced by the survivors, particularly the decision to engage in cannibalism, are navigated through the murky waters of remembered morals and societal norms. These memories, ethereal yet potent, create an ethical compass by which the survivors steer, even when every marker of civilisation has been stripped away.

Conflict and Congruence of Past and Present

Moreover, the unity and discord that emerge among the survivors are underpinned by the complex interplay of their memories. Conflicts arise not just from their present circumstances but from the incongruence of their recollected identities, beliefs, and values—each survivor a mosaic of their past, stretched and distorted by the extremities of their situation. Yet, it is also a memory that forges bonds of unprecedented strength among them, as shared recollections of happier times become a sanctuary, a sliver of warmth in the cold expanse of their reality.

In “Society of Snow,” the fabric of survival is embroidered with the vivid hues of memory, each stitch a testament to Bergson’s assertion that the past and present are inextricably linked. The survivors’ ordeal becomes a ballet of shadows and light, where memory dances with the immediacy of survival, crafting a tapestry that is both hauntingly beautiful and tragically fragile. Through this Bergsonian lens, the film not only narrates a story of physical survival but also delves deep into the realms of existential endurance, where memory serves as both anchor and sail in the tempest of human resilience.

The Élan Vital: Essence of Survival in “Society of Snow”

In the unforgiving embrace of the Andes, where the earth meets the sky in a cold, indifferent caress, the survivors of the tragedy depicted in “Society of Snow” become the living embodiment of Bergson’s élan vital—the vital impetus that thrums through the heart of existence, urging life to persist, adapt, and flourish against the stark canvas of mortality (Bergson, 1907). This primal life force, undeterred by the harrowing embrace of nature’s extremities, reveals itself in the indomitable will of the survivors, who, amid the desolation, find within themselves the unfathomable depths of human resilience and ingenuity.

Triumph Over Despair

Their journey, marked by moments of profound despair and soaring triumphs of the human spirit, becomes a testament to the élan vital’s ceaseless flow. The decision to transcend the boundaries of conventional morality, to use the bodies of the deceased in a solemn pact of survival, is not a surrender to despair but a fierce affirmation of life. In this act, the survivors do not merely respond to the call of survival; they engage in a dialogue with existence itself, affirming their refusal to be silenced by the cold hand of death.

Élan Vital in Motion

As the film unfolds, the desperate trek across the mountains emerges as a poignant symbol of the élan vital in motion—a physical and metaphorical journey that encapsulates the essence of adaptation and the relentless pursuit of life. Every step taken is a testament to the survivors’ creative and spontaneous responses to their dire circumstances, each footprint a mark of their intrinsic drive towards life, even when shadowed by the spectre of death.

Beyond Survival: A Celebration of Resilience

This force, this élan vital, is more than mere survival instinct; it is the profound expression of human resilience that blooms in the heart of adversity, transforming despair into hope, and defeat into determination. It speaks to the capacity of the human spirit to navigate the labyrinth of the human condition, to find pathways where none seem to exist, and to kindle light in the darkest of nights.

The Élan Vital as a Narrative Force

In “Society of Snow,” the élan vital does not merely animate the survivors; it weaves through the narrative like a river of life, carving out canyons of hope in the landscape of despair. It is in their laughter, their tears, their moments of silence and of uproar, that the life force reveals its multifaceted essence, highlighting not only the capacity to endure but to emerge transformed, resilient, and indomitably alive.

Through the lens of Bergson’s philosophy, the film becomes not just a story of survival, but a poetic exploration of the élan vital itself—a celebration of the undying fire of human resilience that burns even in the coldest, most desolate reaches of existence. It is a reminder that within us all flows the same vital impetus, urging us to live, to love, and to leave our mark upon the world, a testament to the enduring power of the human spirit in the face of the unfathomable.

The Anthropocene: Humanity’s Imprint on Nature in “Society of Snow”

In the haunting expanse of the Andes, where the narrative of “Society of Snow” unfolds, the film finds a profound resonance with the epoch of the Anthropocene—a term that denotes humanity’s significant impact on the Earth’s geology and ecosystems. Here, in the silent, snow-clad peaks and valleys, the survivors are juxtaposed against the colossal, ever-changing force of nature, emblematic of the global environmental shifts marking our age. This contrast not only deepens the narrative but also serves as a sombre reflection on the reversal of roles between humanity and the environment in the era of capitalism, where the boundless exploitation of nature finds a stark, poetic counterpoint.

The Andes as a Testament to Environmental Change

The Andes, with their diminished snow cover and altered landscapes—a direct consequence of global heating and human activity (University of Santiago, Chile, Nature, 2018)—emerge not merely as a setting for the survivors’ ordeal but as a poignant character in their story. This mighty range becomes a force that dominates, a silent yet eloquent testament to the indelible mark of human presence on the planet. Through this lens, “Society of Snow” subtly mirrors the broader narrative of the Anthropocene, where humanity’s relentless drive for progress has left an irreversible scar on the face of the Earth.

Cinematography Highlighting the Power of Nature

The cinematography of the film masterfully underscores this dynamic, showcasing the vast, majestic landscapes of the Andes in a way that renders the survivors nearly diminutive in comparison. The sweeping shots of towering mountains and endless horizons serve as a visual metaphor for the overwhelming power of nature, reminding viewers of the fragile, ephemeral nature of human existence against the backdrop of geological time. In this reversal, the film poetically inverts the typical narrative of human dominance over the environment, presenting instead a world where nature reasserts its primacy, dwarfing the survivors not just physically but existentially.

This inversion is a stark commentary on the Anthropocene, highlighting how, in the grand narrative of the planet, the seemingly indomitable spirit of capitalism and human ingenuity is humbled by the earth’s ancient, immutable forces. The survivors, cast as tiny figurines against the sublime, indifferent beauty of the Andes, embody the vulnerability of humanity in the face of nature’s majesty and fury. This visual and thematic portrayal invites the audience to ponder the impermanence of human endeavours and the urgent need to rethink our relationship with the environment.

Reimagining Our Relationship with the Earth

“Society of Snow,” through its exploration of time, memory, and life force in the context of the Anthropocene, becomes a meditation on resilience, adaptability, and the indomitable will to survive—not just of the individuals stranded in the Andes, but of humanity at large. It serves as a poignant reminder of the need to harmonise our existence with the natural world, to heed the lessons of the past and present, and to forge a future where the relationship between humanity and the planet is defined not by dominion and exploitation, but by reverence, stewardship, and mutual respect. In this way, the film transcends its narrative to pose profound questions about our collective legacy and the path forward in an era defined by human impact.

Conclusion: Bridging Bergson and “Society of Snow”

In weaving the philosophical threads of Henri Bergson with the visceral narrative of “Society of Snow,” the film transcends its surface story of survival to become a profound exploration of the human condition. This cinematic journey through the Andes, marked by the struggle for existence against a backdrop of implacable nature and the shadow of the Anthropocene, is rendered with poetic sophistication and emotional depth. Bergson’s philosophical insights into time, memory, and élan vital enrich our understanding of the survivors’ experiences, transforming their story into a universal meditation on resilience, ethics, and the essence of being human.

The Fabric of Human Existence

Bergson’s concepts illuminate the multifaceted dimensions of the survivors’ ordeal, offering viewers a lens through which to ponder the intricacies of human life woven into the fabric of an indifferent universe. The film, through its masterful cinematography and narrative, invites an immersive contemplation on the fleeting nature of time, the power of memory to shape our present and future, and the unyielding force of life that drives us forward even in the face of insurmountable odds. These themes resonate with a poignant urgency in our current epoch, where the impact of human activities on the environment calls for a profound reevaluation of our place within the natural world.

Reflective Examination of Values

Moreover, “Society of Snow” does not merely recount a tale of physical survival; it delves into the ethical quandaries and moral resilience that emerge from the survivors’ choices. Through Bergson’s lens, the film encourages a reflective examination of the values and principles that guide us, highlighting the capacity for human beings to find meaning, hope, and solidarity even in the darkest of times. It is a testament to the indomitable will to live, to the enduring strength of the human spirit that flourishes in the face of adversity, echoing Bergson’s belief in the dynamic, creative force of life that underpins our very existence.

Humanity and the Anthropocene

In the broader context of the Anthropocene, the film’s narrative acquires an added layer of significance, serving as a poignant reminder of the delicate balance between human endeavours and the natural environment. It challenges viewers to consider the long-term consequences of our actions on the planet, urging a collective introspection on how we might forge a sustainable path forward, in harmony with the Earth’s rhythms and cycles. This reflection is vital in an era marked by environmental upheaval, where the lessons of resilience, adaptability, and respect for nature embodied in the survivors’ story become increasingly relevant.

A Cinematic Meditation on Existence

In conclusion, “Society of Snow,” through the prism of Bergson’s philosophy, becomes a compelling odyssey into the heart of human existence. It is a cinematic meditation on the themes of time, memory, life force, and our interconnectedness with the environment, offering profound insights into the nature of resilience, the ethical dimensions of survival, and our collective responsibility in the Anthropocene era. This film, in its exploration of the complexities of the human spirit and the existential challenges we face, stands as a poignant reminder of the beauty and fragility of life, urging us to cherish and protect the precious world we inhabit.

Bibliography:

Bergson, H. (1896). Matter and Memory. Paris: Presses Universitaires de France.

Bergson, H. (1907). Creative Evolution. Paris: Félix Alcan.

Bergson, H. (1910). Time and Free Will: An Essay on the Immediate Data of Consciousness. Paris: Félix Alcan.

University of Santiago, Chile. (2018). “Snow cover in the Andes mountains falling at a rate of 12% a decade in the dry season.” Nature.