Con Ricardo Darín as absolute protagonist and under the direction of Bruno Stagnaro, The Eternaluta It is emerging as the most ambitious commitment to Argentine audiovisual history. The series, produced by Netflix y K&S Filmsadapts the iconic cartoon created in 1957 by Héctor Germán Oesterheld y Francisco Solano Lópezand recreates a dystopian Buenos Aires crossed by a mortal snowfall and an alien invasion.
Shot in More than 50 real locationscon Latest generation special effects And a cast that includes Carla Peterson, César Troncoso, Andrea Pietra y Ariel statelyproduction represents a before and after in terms of scale, technology and narrative ambition. Among the most emblematic elements of the visual universe of the series appears a piece that captured the attention of the technical and public team equally: The mask that Darín uses in his role as Juan Salvo To survive disaster. More than an object of utilities, it became a visual icon and dramatic symbol of history.
In the narrative universe of The Eternalutalethal snowfall forces the characters to improvise hermetic costumes to be able to go abroad without being contaminated. The John’s mask except It is his safe -conduct to face the unknown and the symbol par excellence of the hero. Its design, construction and functionality were rethink from scratch for the series. The production team found in that object a perfect synthesis between the identity of the character and the realistic tone of the story.
As he revealed Patricia Accountcostume director, the premise was clear: “We did not want stylized science fiction, but everything had a recognizable, credible, almost domestic origin.”. That search led to an artisanal and technical process that involved the entire art and sound team.
The first versions of the script proposed that the mask except out a Chernobil souvenir that the character Favalli kept in his basement. The idea was that he had a mysterious and real origin. However, after investigating the original design of these Soviet masks, it was quickly ruled out: “They were trumpered masks, with their eyes separate. They did not serve for what we needed”He explained count.
In Oesterheld’s cartoon and Solano López, the mask refers to the diving equipment of the 50s. That model was analyzed by the production team, but also was left out. The reason: “It was a model too flat for the camera. It did not generate empathy or allow the look”the designer recalled.
The final design started from a powerful visual premise: it had to seem An old, industrial, urban objectsomething that Favalli could really have had at home. They were incorporated Oxidized screws to give a feeling of seniority and wear. “That rusticity made history plausible,” the team explained. It was also sought that the viewfinder was wide, with a curvature that allowed the protagonist’s face to be framed well.
One of the biggest problems was functionality. When they tried the first model with Ricardo Darín, they realized that “He couldn’t breathe well”. From there, they eliminated several internal layers and filters until they only left the outer housing. They also created adapted versions for doubles and scenes without dialogue.
The final mask incorporates An sausage microphonewhich allowed to maintain dialogues without interference. The interaction with the sound equipment was constant. “They told us: ‘That plastic kills me.’ But we couldn’t help it, because we had to use credible materials, things that anyone would find at home to protect,” Tont said. The technical team adapted to preserve realism.
Although the except is the most recognizable, in the filming they were used More than 500 masks different for other characters and extras. They were built in a workshop specially mounted on the K&S Films producer. Account counts that one day he summoned his entire team with a proposal: “Imagine you have to go looking for food. Armen your mask to survive”. Thus a variety of homemade and industrial models arose that reflect the despair of the characters.
The concept that guided the entire design was The emotional urgency. “The word ‘despair’ played a very important role,” he said, “we thought from someone who needs to go looking for food, not from someone who wants to look good in front of the camera.” That aesthetic and narrative decision unifies the entire series, and is reflected in each design decision.
