The Circle of Snows: Juan Antonio Bayona details his staging of cannibalism

The Circle of Snows: Juan Antonio Bayona details his staging of cannibalism



The snow circleto sublimate the horror

The snow circlebrilliant film adaptation of the Andean drama, explores the psychology of the victims and survivors of this plane crash and the two months of survival that followed, based on the book of the same name published by Pablo Vierci in 2009. The story is authentic and respectful of the unfolding of events but, unlike the previous film The survivorsdirected by Frank Marshall and released in 1993, Juan Antonio Bayona wanted his film to focus reflection rather than action.

Filming of the Snow Circle
Filming The Snow Circle ©Netflix

This air tragedy is famous above all because, isolated at 3,600 meters above sea level and without food, having learned that the searches had been interrupted, the survivors had no choice but to resort to cannibalism and they eat the flesh of the dead, preserved by the cold. Juan Antonio Bayona was asked how he approached this element of the story, shown in The snow circle without horror.

Cannibalism is undoubtedly the most terrible element of this survival story, and represents a very strong question of staging The snow circle. How did you design it?

Juan Antonio Bayona : In Paul Vierci’s book cannibalism is an important theme, but remains in the shadow of other themes. I wanted to transfer the point of view from those who eat to those who give. We then move on to a vision of generosity, love and companionship. The idea is not to talk about eating, but about giving. The point of view is more humanist, less sensationalist than what we see for example in the film based on the book by Piers Paul Read (The Survivors, ed.), because it focuses on the action. For me the priority was not action, but reflection to find meaning in what was done.

The biggest challenge was to show the naturalness of this act. I talked about it with Pablo Vierci, who had translated the psychological interviews carried out with the survivors. It was a question of deactivating the brain mechanism that prevents this act and how to transform this scabrous gesture into an anecdotal gesture.

In two hours of film, however, it is impossible for this act to be perceived as natural, so we opted to suggest rather than show. This was our first intention anyway, to be respectful towards the families of the victims.

Source: Cine Serie

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