“Society of the Snow,” directed by J.A. Bayona, is a cinematic adaptation of Pablo Vierci’s book, recounting the 1972 Andes plane crash involving Uruguayan Air Force Flight 571. This disaster has been the subject of numerous books, movies, and even inspired the TV series “Yellowjackets.” Bayona’s film brings a close-to-reality depiction of the experiences of the 45 passengers and crew, including 19 members of the Old Christians Club rugby team, who endured an unimaginable ordeal when their plane crashed in the Andes, leaving only 16 survivors after a grueling two-month struggle.
The film opens with a harrowing portrayal of the crash, sparing little time on buildup. The graphic depiction of the plane’s disintegration, the passengers’ injuries, and the fuselage sliding down the mountainside sets a tone of stark realism. This realism extends to the survivors’ immediate struggle, as they quickly exhaust their meager supply of snacks. Faced with a barren, frozen landscape devoid of vegetation or wildlife, their only option for sustenance becomes the bodies of the deceased passengers, eerily preserved by the cold.
Unlike previous adaptations such as 1993’s “Alive,” which leaned into dramatized conflicts and pressure-cooker scenarios among the survivors, “Society of the Snow” adopts a more respectful tone. The film chooses to emphasize the spirit of cooperation and collective resilience of the survivors, steering clear of hierarchical disputes and overblown drama. This approach lends a certain gravitas to the film, allowing the severity of the situation to speak for itself.
However, the film’s reverent approach is a double-edged sword. By shying away from the gruesome realities of the survivors’ situation, the film arguably loses some of its impact. Graphic scenes are often suggested rather than shown, and the camera veers away from disturbing images of wounds and deceased bodies. This restraint extends to the depiction of cannibalism, which is more implied than explicitly shown, potentially diluting the visceral impact of the survivors’ desperate actions.
Numa Turcatti’s narration, portrayed by Enzo Vogrincic, aims to bridge narrative gaps, but at times feels overwrought and fails to add complexity to our understanding of the characters. The film struggles with character development due to the large number of individuals depicted. This leads to moments where the film resorts to flashbacks of characters at the airport before the crash, an attempt to humanize them that sometimes feels more like a clarification for the audience than a deep exploration of their personalities.
Bayona demonstrates a talent for poetic and surreal visuals, particularly in the early stages of the film. Scenes such as a young man hanging upside down in the wreckage and the portrayal of time passing with sudden cuts, effectively convey the fear and disorientation experienced by the survivors. However, these powerful visual moments are often overshadowed by the film’s focus on narration and the lack of distinct characterization.
In its earnest attempt to avoid sensationalism, “Society of the Snow” perhaps overcorrects, resulting in a film that doesn’t fully confront the harrowing aspects of the survivors’ ordeal. The film’s respectful tone and focus on human resilience are commendable, but they come at the cost of a deeper exploration of the psychological and physical realities faced by the survivors. “Society of the Snow” is a poignant, yet somewhat sanitized retelling of one of the most extraordinary survival stories in history.
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