

Society of the Snow is J.A. Bayona's devastating and visually extraordinary retelling of the 1972 Andes flight disaster, in which Uruguayan Air Force Flight 571 crashed in the remote Andes mountains carrying the Old Christians Rugby Club and their families. Forty-five people were aboard; sixteen survived after seventy-two days of desperate improvisation, extreme cold, starvation, and the agonizing moral decision to consume the flesh of their dead teammates in order to stay alive. Bayona's film — a Spanish-language production drawn from Pablo Vierci's 2008 book of survivor testimonies — distinguishes itself from Peter Weir's 1993 Alive by its collective focus: this is an ensemble story, not a hero's journey.
Shot in the actual Andes at altitude and with meticulous period detail, the film achieves a physical authenticity that previous versions could not match. The survivors are presented not as extraordinary individuals but as ordinary young men placed in an impossible situation and forced to discover resources within themselves they could not have imagined. The decision to use flesh for survival is treated with exactly the moral and spiritual gravity it demands — not sensationalized, not glossed over, but examined as an act of love and community, a final gift from those who died to those who still lived.
Society of the Snow won the BAFTA Award for Best Film Not in the English Language and was Spain's submission for the Academy Award for Best International Feature Film, where it earned a nomination. The film is available on Netflix and represents one of the finest survival dramas ever committed to film — a work that honors its subjects by refusing to simplify the profound ethical territory they were forced to occupy.
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Anna Miko enjoys writing more than reading books. But most of all she likes to write movie and series reviews. Being fond of classic cinema, she nevertheless is the author of many research works on contemporary visual arts. She also writes short essays on new movies and series helping others to navigate the world of modern cinema.
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