Even before the sky dumped a foot of snow, visions of cabana boys bearing daiquiris have been dancing in our heads.
In the dystopian "Snow Crash" vision of the world, virus-like software leaps across the boundary separating machines from humans.
The Laurentians don't offer the geological drama and endless powdery runs of the aspen-lined Rockies, or the Wasatch Range or the Alps, but remember, it was a snow-globe vision of winter we sought, and on that Tremblant delivered.
Beetee (Jeffrey Wright) is powerful in his minor role while Cressida (Natalie Dormer) who is filming the Hunger Games for President Snow is a vision with her tattoos running from her neck to the top of her half shaved head and whose appearance adds to the revulsion of terror and violence.
Helix / Två Fontäner, like his previous release, Snow Sketch / Visions, is a seventeen-minute slow burning exploration of ambience and rhythm.
The trouble is that if snow gives us night vision, it also gives predators an advantage.
Veils real and metaphorical — car windows, darkness, time, dust, distance, bushes, snow — simultaneously obscure our vision and show us new meanings.
That's how my twins Nathalie and Gabriel, nine, and Hannah, seven, found themselves charging towards the Wizarding World of Harry Potter, mesmerised by the vision of a snow-coated Hogsmeade in the middle of the Sunshine State.
Antarctica, the desolate southernmost continent boasting the coldest climate on Earth, usually brings to mind visions of ice, snow and penguins.
