“The Eternaluta”: the reasons for an international success

The worldwide success of the “El Eternalauta” series, the mere fact of having made such a production, so ambitious and so achieved, the relationship with the original cartoon and also the family drama Oesterheldwere this weekend first order matters among the spectators, the people of the Argentine audiovisual industry and certain political sectors. It is convenient to write down some data:

Produced by the Argentine company K & S Films and Netflix, that premiered it last Wednesday in about 200 countries (folded to 12 languages ​​and subtitled in 30), “The Eternaluta” It was the most watched series of this weekend not only in almost the entire Latin American market but also in Italy, Germany, India, Oman, Kuwait, Saudi Arabia, Slovenia, Hungary, Turkey and, of course, Spain (the Spaniards will have been disturbed, see this immediately after the extensive and still inexplicated blackout on Monday).

In France and other countries it was second, behind “The Four Seasons”and fourth in the US and Canada. It was highlighted by true connoisseurs like Alex de la Iglesia and Hideo Kojimatogether with a multitude of youtubers and influential critics such as Mike Haleby “The New York Times”, and Michael Valentinthat in “Le Parisien” made the best comparison in favor of the Argentine series: “It has nothing to envy to all the Anglo -Saxon, Scandinavian or South Korean postpocalyptic stories that have reached us.”

The appreciation is relevant, because this is national labor. Among technicians, performers, attendees and figures there were more than 2,900 people, many of whom began to work firm already in 2020, with the first scan of public places to prepare the special effects. Only the filming over 2023 had been (and Darin, with his 68 years, was in 113). Then they would come the postproduction, very extensive, and the launch. A huge effort, and a demonstration of local talents.

It is worth transcribing the comments of Francisco RamosVice President of Content of Netflix Lat Am, to the American magazine “Variety” on April 30 (for whom he still does not know, “Variety” is the daily vademécum of all the people of the international audiovisual business): “Argentines are extremely talented. When they have the opportunity and resources, their talent arises, grows and blooms. Those of Netflix end up being more a vehicle than something else, we are a vehicle for narrators to bring unique and special projects to our members. “

And he added: “In March 2018 we launched our first series in Argentina. Seven years later, we are at this level of volume, diversity and ambition that is very good. Above all, it means that there is talent in Argentina. But for much intention that we had, for great desire and commitment to invest money, if there were no directors, screenwriters, producers, actors, actresses and technicians from all areas making productions with our money, little could be done. I want to make it clear that we will continue betting on Argentina. “

Those words have an inception as an incentive for local technicians and artists, an invitation to financiers and producers from other countries, and a call for attention for those who prejudices prejudically to the small Argentine audiovisual industry, defame it and deny it the assistance that corresponds by law.

In this regard, almost all of these talents studied at the UBA (particularly image and sound design, such as Gastón Giroddirector of photography, and María Battagliaart director), the Enerc, which is the INCAA Cinema School (today undermined by the intervening management), the Metro de Córdoba, the University of Cinema, such as editors Brodersohn and Parysowand the CIEVYC, or did seminars in Sica, the technician union. Federico Jusidtoday working in Madrid, Los Angeles and Buenos Aires, was formed at the Superior Conservatory of Music in Buenos Aires.

And the director Bruno Stagnaro He first learned from his father, the director Juan Bautista Stagnaropassed through some classrooms and started to work. It is the maximum talent of this patrio, next to the young but already veteran producer Matías Mosteirindirector of K&S Films. Was Mosteirin who proposed to make the series “The Eternaluta” and contacted Netflix. The result is on the 200 countries screen.

What will come

The seen so far is only the first season of the series. The second and last one is in a preproduction degree, demands even greater effects and has a greater social and philosophical background. Some will also require greater political background. But the series is inspired by the cartoon that Héctor Oesterheld and the cartoonist Solano López They published between 1957 and 1959 in the weekly magazine “Zero hour”, When the author still remained oblivious to politics, and enjoyed writing the adventures of “Sergeant Kirk”, “Bull Rockett”, “Ernie Pike” and other characters for the magazines that he had founded and who had lying of up to 200,000 copies per week.

He enjoyed his family, his vest in Beccar. What came later is another story, and is terrible. It is worth rescuing the documentary “Hgo”of Victor Baylo and Daniel Stefanello1999 (the acronym, by Héctor Germán Oesterheld) and the most recent “The woman of the eternalauta”of Adam Aliaga2024, Spain, biography of Elsa Sánchezthat at the hands of the dictatorship he lost in a few days his four daughters, his sons -in -law, two grandchildren, and the husband. A rescued grandson, Martinit is today custodian of his grandfather’s work and series advisor.