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The Production of Netflix’s ‘Community of the Snow,’ From Accurate Historical Reenactments to Profound Spiritual Analysis

The movie commences with expansive portrayals of numerous of the characters we’ll subsequently follow in the mountains, as they live relatively serene and satisfying lives. Our primary storyteller is Numa (Enzo Vogrincic Roldán), a young man from a traditional, religious family. He is introduced in a typical moment for him, marking the anticipation of the forthcoming transformation.

J.A. Bayona: The entire film is a voyage to a place where Numa can undergo this self-discovery of his true self. He must comprehend his dark side, his genuine nature. And somehow, in doing so, he needs to connect spiritually with that culture. It was crucial for me to depict the environment he originates from. This is a genuine church in Montevideo; it’s one of the churches that Numa likely frequented with his family. It’s very close to his former residence. We are filming in the exact locations where the story unfolded. We really aimed to stay faithful to reality.

Pedro Luque: Uruguay is a place characterized by lush greenery. It experiences four distinct seasons. It can be both cold and hot, but it’s generally a rather uneventful place. The highest elevation in Uruguay is 1,400 feet. It’s a pleasant place to dwell—nothing like the ruggedness of the Andes Mountains where they eventually find themselves. At the start of the film, we establish the comfortable lives these people lead—the warmth, happiness, love, care, and strong support system they have throughout their lives. In a way, this depiction finds Numa in a cozy setting. It’s comforting.

Bayona: It embodies the essence of youthfulness. This is reminiscent of the kind of frame one might encounter in a movie like The Deer Hunter, for instance. Films from the ’70s, wide-screen. The set and location enhance the characters and their experiences. There’s something very intriguing about this scene—I didn’t want it to feel solemn, especially in relation to religion. So there’s a lighthearted element where a character feels somewhat humorous, passes a note to Numa. It sets the stage for something that will occur later. We wanted to avoid a sense of solemnity. There’s an element of humor, which is completely contrary to the scene we’ll witness later when Numa passes a note to his friends in the mountains—a scene devoid of humor.

The Tempest

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