Survival stories have always held a unique allure for filmmakers, but recounting the harrowing events of the “miracle in the Andes” presents distinct challenges, especially when the outcome is widely known. In 1972, a Uruguayan plane carrying 45 individuals, including the Old Christians rugby team, crashed in the Andes, ultimately leaving 16 survivors. Their remarkable tale of survival involved resourcefulness, endurance, faith, and the controversial decision to consume the deceased to stay alive.
The Spanish-language film Society of the Snow, directed by J.A. Bayona (The Orphanage), takes viewers on an immersive journey through these chilling events. Unlike the 1993 film Alive, which featured an American cast led by Ethan Hawke, Society of the Snow authentically combines shots from the Andes with locations in the Sierra Nevada mountains in Spain. Yet, it falls short in capturing the immediacy provided by the real survivors, a perspective vividly depicted in the documentary Stranded: I’ve Come From a Plane That Crashed on the Mountains (2008).
For a seasoned action director like Bayona, the plane crash is the straightforward part. The foreshadowing in the film, however, feels excessive and repetitive. Moments before the tragedy, passengers discuss the perils of flying through the Andes due to the interplay of warm Argentine winds and cold mountain air. The accident itself is a visceral experience, with snow, debris, and wind creating chaos within the fuselage. Rows of seats collapse, adding to the horror. The initial moments after the crash are captured in disorienting close-ups, mirroring the characters’ struggle to comprehend the situation.
The film’s real challenge lies in conveying the prolonged ordeal these survivors endured. As Roger Ebert noted in his review of Alive 31 years ago, no movie can fully encompass the enormity of their experience. Cinema excels in visual and auditory storytelling but falls short in depicting hunger, cold, and the passage of time, particularly when it stretches over days and weeks.
Another aspect that presents a dilemma is how explicitly the film should portray the survivors’ decision to consume human flesh. Society of the Snow treads carefully in this regard, maintaining a degree of restraint despite depicting at least one rib cage that has been picked clean. None of the renditions of this story have portrayed the decision as rash or ill-considered. In this version, three men discreetly undertake the butchering, away from the view of the others. When an avalanche isolates the group, making it impossible to consume anonymous flesh, the film handles the sensitive subject matter with caution.
While the story remains inherently gripping, Society of the Snow takes on a somewhat perverse viewing experience. Most viewers will watch it on Netflix, in the comfort of their homes, with everyday conveniences at their disposal. The film brings the audience closer to the edge of survival than many would care to admit, a testament to the enduring power of this remarkable true story.
