El Eternauta (tv series)

El Eternauta, the Argentine series directed by Bruno Stagnaro and based on the legendary graphic novel by Héctor Germán Oesterheld and Francisco Solano López, has brought one of the most influential Spanish-language works of science fiction to the screen with both technical ambition and deep respect for its original spirit. At its core, the series embraces the concept of the “collective hero” —a foundational idea in the story and one that Stagnaro champions as a political and cultural stance against individualism.

From the outset, El Eternauta declares that survival is not an individual act but a collective endeavor. This theme permeates the narrative and is mirrored in the collaborative nature of the production itself. The plot unfolds in a Buenos Aires gripped by a deadly, mysterious snowfall that wipes out much of the population. As the survivors begin to understand they are facing an alien invasion, they realize that unity is their only path forward. To preserve the urgency and social resonance of the original story, Stagnaro chose to set the adaptation in the present day.

One of the most striking creative decisions was casting 68-year-old Ricardo Darín as Juan Salvo, a character portrayed as much younger in the original comic. Stagnaro initially questioned the choice due to the physical demands of the role, but ultimately saw in Darín’s age an opportunity for deeper symbolism. By connecting the character to the generation of Argentine veterans from the 1982 Falklands War, the series adds layers of emotional and historical meaning. This perspective is echoed in one of the show’s recurring lines: “old things work.” It’s a reference not just to analog technology that survives the snowfall, but to human experience and resilience in a culture obsessed with novelty and youth.

Bringing El Eternauta to life also required cutting-edge technology. To create its dystopian vision of Buenos Aires, the team turned to Unreal Engine —a software platform originally designed for video games and now widely adopted in film and television. Using this tool, real-world locations throughout the city were digitally scanned and reimagined as detailed three-dimensional environments.

These virtual sets were then projected onto massive LED walls during filming, a process known as virtual production. This technique allowed actors —including Darín and César Troncoso— to perform within immersive digital landscapes in real time. More than just a visual upgrade, this approach gave the creative team tighter control over mood and tone, transforming Buenos Aires into a fully integrated character within the story rather than a passive backdrop.

Visual effects supervisor Ignacio Pol emphasized that one of the production’s greatest challenges was making Buenos Aires feel both authentic and transformed —a city viewers could recognize, yet altered by catastrophe. Its presence had to communicate emotion, memory, and loss in a single frame. Achieving that required painstaking attention to detail and a production process that spanned years.

The series was the result of an unprecedented collaborative effort among several Argentine studios — including Control Studio, Many Worlds, Beat, Malditomaus, and Bitt Animation— alongside international partners. Virtual production involved months of research, 3D modeling, texture design, on-set coordination, and over a year of meticulous post-production, during which every shot was reviewed alongside Stagnaro to fine-tune its visual storytelling.

Beyond the technical sophistication, Stagnaro sees El Eternauta as an opportunity to build an Argentine heroic mythology —one rooted in local identity yet capable of resonating globally. Rather than softening cultural references to appeal to an international audience, the series proudly amplifies them. It’s a deliberate choice grounded in the belief that authenticity, not universality, is what fosters true connection across borders.

Nearly seventy years after its original publication, El Eternauta remains a story of resistance, solidarity, and memory. Oesterheld’s visionary work begins a new chapter —where art, technology, and collective spirit come together to once again remind us that in the face of catastrophe, no one is saved alone.

La Parte Ausente

Now Alejandro Israel, producer of the film, tells us about "La Parte Ausente":

La Parte Ausente is about Chockler and his quest to find a man dead or alive, in a world on the brink of collapse.

The shooting lasted 5 weeks, almost everything in the cold and dark winter night.

We used the Red Epic camera because the DOP asked us for that one.

The budget of the film was about 400 thousand dollars. The resources were both public and private.

Rosario necesita héroes

An astral war.

Now Daniel Del Grande tells us about his webseries "Rosario necesita héroes":

The camera I used is an old Kodak, mainly designed for taking 7-megapixel photos —at least I think so. I don’t have it with me right now, but I can say its video mode is quite basic and nowhere near the quality of its photo mode. Still, it was the only tool I had at hand.

The budget? Practically nonexistent. I simply use whatever resources I have available, since this isn’t a professional project —at least not yet. Making money isn’t the goal.

And what’s my motivation? That’s harder to explain in just a few words. What I can say for now is that, over time, I hope to share a deeper spiritual journey —my own path— and everything I’ve learned along the way.

Videoclip:

Martin Mosca

Now Mariano Cattaneo tells us about his webseries "Martin Mosca":

Martin Mosca is a science fiction comedy that follows the misadventures of an ordinary man who builds a time machine —only to use it for trivial purposes. However, he soon discovers that tampering with time can have serious consequences: altering the natural order of the universe and endangering both his life and the lives of those he loves.

The concept for Martin Mosca was inspired by the beloved sci-fi and adventure films of the 1980s, including Back to the Future, Terminator, Weird Science, Ghostbusters, Indiana Jones, and Superman. These nostalgic influences helped shape the tone and spirit of the series.

Behind-the-scenes: Martin Mosca's house

Each episode’s budget varies according to the demands of the script. As with many independent productions, teamwork is essential. Every person involved contributes according to their skills and possibilities, and the human commitment behind Martin Mosca is invaluable. While digital platforms such as YouTube, Facebook, Google+ and Twitter provide a vast window for exhibition, there is still a lack of formal distribution channels that are willing to take risks on web series and offer creators sustainable compensation.

Creating an independent web series means being prepared for the unexpected. With limited funds and tight schedules, improvisation becomes a necessity, and every challenge must be resolved on the fly.

One memorable anecdote occurred during the filming of the eighth episode, which required a scene in a cemetery. Without the time or resources to obtain a permit —which in Argentina could take weeks— the team decided to film guerrilla-style, entering as regular visitors. The actors playing Martin and the future traveler had to hide behind tombstones in their elaborate costumes and helmets. Surprisingly, many passersby asked them for directions without noticing anything unusual, despite their eye-catching outfits.

The series was filmed using a variety of Canon DSLR cameras —5D, 7D, 60D, T3i, and T2i. These cameras provide a simple yet powerful toolset, delivering full HD (1920 x 1080) quality. Their affordability, portability, and flexibility have transformed consumer-grade equipment into reliable tools for professional filmmaking.

Martin Mosca is the result of a passionate and collaborative effort by Mariano Cattaneo (director), Leandro Cóccaro (actor), Hernán Márquez (actor), and Pablo Boyanovsky Bazán (writer/producer).

Watch first episode:

El Sol

Now Ayar Blasco tell us about his movie "El Sol":

The entire production of El Sol was, in itself, one long anecdote. I wanted to create an apocalyptic film that didn’t rely on action, and I chose characters who resembled my friends —because I had them in mind from the start. I didn’t approach this project with any commercial intentions, so whatever happens with the film now will be a pleasant surprise.

We made it using Adobe Flash, and it took us seven years to complete —mainly because we took our time (maybe a bit too much!). I first developed the script with the support of the Hubert Bals Fund, and later we received help from INCAA (Argentina’s National Film Institute). But above all, the film came to life thanks to the commitment and support of everyone involved in its making.

Seeing the final result has inspired me to start working on a new film much sooner. I’ve learned so much from this process, and I know that experience will be valuable in the future.

La maquina que escupe monstruos y la chica de mis sueños

The project was born from a simple desire: to make the kind of movie they themselves wanted to see —one that broke away from traditional Argentine aesthetics. Both filmmakers are passionate about animation and deeply admire directors who incorporate animation logic into live-action cinema, such as Terry Gilliam, Sam Raimi, Peter Jackson, and Tim Burton. This influence became the foundation of the film’s identity: a live-action feature governed by cartoon logic.

The film is filled with references to South Park, Tex Avery, Hanna-Barbera, The Simpsons, and Richard Williams. At the same time, both Labat and Ross are avid fans of science fiction and B-movies, so the film became a playful and chaotic fusion of all these influences.

They shot the movie on a Canon 7D, simply because it offered the best image quality within their limited budget —and visually, the results surpassed expectations. The filmmakers openly reject realism, particularly the naturalistic style often associated with Argentine cinema. Their goal was to create a world entirely driven by animated logic and visual absurdity.

The shoot lasted 22 days, and the film was produced on an ultra-low budget —around $5,000 USD. From the start, they committed to writing, shooting, and releasing the film o nline within the span of a year —and they succeeded. Many people contributed along the way, offering services, time, or donations through the film’s website. But the bulk of the budget came directly from their own pockets.

According to Labat and Ross (the filmmakers), the Internet has fundamentally changed how we experience cinema. Musicians, they note, have embraced digital platforms, but filmmakers are often more resistant. Yet audiences are already consuming movies on their computers and mobile devices —streaming, downloading, and sharing content freely. Instead of fighting that trend, they believe filmmakers should embrace it.

For them, the internet is not a threat but a tool —one that democratizes film distribution and allows creators to reach global audiences on their own terms. Their primary goal was, and remains, simple: to have their film seen, by as many people as possible. In their view, the future of cinema lies in understanding —and leveraging— the creative freedom and reach that the internet provides.

Viaje a Marte

Mate on Mars.

Independent film production in Argentina offers a vital advantage for animation: creative freedom. While major studios tend to stick to safe formulas that imitate Disney or Pixar, independent short films allow artists to explore bold, personal ideas with a distinct voice. Viaje a Marte (Journet to Mars) is a prime example of this freedom in action.

The short was inspired by a real-life anecdote that the director reimagined as a fantastical tale: a boy travels to Mars in his grandfather's pickup truck. This premise not only challenged the team to tell a complete life story in just a few minutes but also played with the idea of suspended disbelief —an essential element in all dramatic storytelling.

Visually, Viaje a Marte was crafted with exceptional attention to detail. The character and set design were key to conveying the innocence of a child's perspective. The director and his partner, Silvina —who led the miniature work— focused on textures and colors that evoked the era in which the story is set. Latex foam was used for the characters’ bodies to speed up the animation process, while plasticine was retained for the faces and arms to preserve expressiveness. As the director explains, foam allows for quicker animation, whereas full-plasticine puppets require constant adjustments.

Though made with more passion than resources, the short stands out as a visually rich and emotionally resonant film. Its delicate treatment of childhood and fantasy strikes a chord with audiences. Despite the possibility of expanding it into a feature film, the director acknowledges that its success as a short makes it difficult to imagine a version that could match its impact.

The artistic influences behind Viaje a Marte are diverse, blending animation legends like Norman McLaren, Nick Park, and Hayao Miyazaki with filmmakers such as Kubrick, Terry Gilliam, and Fabián Bielinsky. This eclectic mix is reflected in a film that, though handmade and intimate, achieves remarkable depth —making it a landmark of Argentine animated short cinema.

Watch shortfilm:

Marihuana Radioactiva Interplanetaria

Now Marcelo Leguiza tell us about his movie "Marihuana Radioactiva Interplanetaria":

My main motivation for making the film was to celebrate the 12th anniversary of our production company — and what better way than with a movie? At the time, we were filming Mocosis, which turned out to be more complex than expected. So we paused that project and started shooting Interplanetary Radioactive Marijuana instead, simply because it was easier to complete.

The film was shot entirely on a PAL Sony PDX 10 — it was the only camera we had at the time. After finishing the movie, I bought a PAL HDV Sony V1, and now we’re filming with a Canon T3i.

Around 60% of the movie was filmed in just two days, with seven additional days for extra scenes. The bulk of the footage was shot in summer, but many of the added scenes were done during winter. We really suffered through the cold, especially since we were wearing summer clothes that didn’t offer much protection.

The total budget was only $500. The alien costume wasn’t even made for the film — it was actually created as a hobby by a technician who later gave it to us. I thought it looked striking, so I borrowed it and saved on that expense. To hide a few imperfections and give it a unique touch, we added the jersey of the Argentine football club Racing.

There are quite a few jokes in the film about our neighbors in Uruguay. We were a bit nervous about presenting the movie at a festival there, but to our surprise, the audience loved it — they laughed a lot and received it with great enthusiasm.

Right now, we're preparing the DVD and YouTube premiere of Mocosis, our third feature film. We’re also wrapping up post-production on our fourth movie, Sonríe, which premieres in October. Meanwhile, we’re already in pre-production for our next film, which we plan to shoot in November.

And in early 2013, we’ll start filming Interplanetary Radioactive Marijuana 2.

Watch full movie:

Filmatron

Only they wanted to make a science fiction movie.

Watch full movie:

Now Pablo Parés tells us about his movie "Filmatron":

We made Filmatron as a way to express, through film, how we view the Argentine movie-making system. It’s a kind of protest film—our way of criticizing the current state of the industry.

The movie took four years of our lives to complete… a long time, but a good one. It was a no-budget project, entirely self-financed with money from our day jobs. Filmatron is a truly independent production, made by a small group of film lovers. We enjoyed doing everything ourselves—our team of just 10 people took on every role in the process.

We shot the film using a Sony PD150 DV camera, which was the standard at the time. (Nowadays, we use a Canon 7D because it allows us to work with better lenses.)

Looking ahead to the future of film distribution, we’re focusing all our efforts on our YouTube channel. We believe the future of entertainment lies on the web—where creators can connect directly with audiences. Our hope is for a future without intermediaries.