The Eternaut, which premiered recently and quickly entered Netflix’s top 10, has been confirmed to receive a second season. Francisco ‘Paco’ Ramos, who oversees Netflix’s Latin American content, shared insights about the upcoming season in an interview with Deadline. Matías Mosteirin of K&S Productions revealed that the intention is to conclude the narrative in this next season.
“The upcoming season will be pivotal,” Ramos noted. “It will explore in depth several sci-fi elements that were merely hinted at in the first season, and now they will be fully developed.” Mosteirin continued, “Our goal is to wrap up the entire story beautifully, likely over eight additional episodes.”
Bruno Stagnaro, the series’ creator and director, will helm the second season. The series offers a modern reinterpretation of the renowned Argentine comic and graphic novel by Héctor G. Oesterheld, illustrated by Francisco Solano López, first published in 1957.
Located in Buenos Aires, The Eternaut depicts the aftermath of a mysterious snowfall that decimates most of the population. The story follows Juan Salvo, portrayed by Ricardo Darín, and his friends as they fight desperately to survive, grounding the series in the sci-fi genre.
“We aimed to create a scenario that could realistically occur in any city,” Ramos explained, detailing the narrative’s development. “The first episode starts on a small scale, just within a house. By the second episode, the scope expands to include the entire building, and by the third, it encompasses the neighborhood. By the fourth episode, the entire city is involved.”
Turning this beloved story into a series has made it arguably the largest TV production ever out of Argentina. “Argentina is renowned for its robust cinema and television history, but this project surpasses all previous endeavors,” Ramos commented during his interview with Deadline in Buenos Aires.
“The project’s scale and complexity are immense, incorporating various technical and technological methods previously uncombined in a single Latin American show. It’s also very personal, with Stagnaro having complete control over the series,” he added.
Life Imitates Art
Marcos Ludevid, Netflix
A team in protective gear scanning a deserted location in Buenos Aires could be mistaken for a scene from the series itself. This actually happened in 2020 when specialists, during the pandemic lockdown, were allowed to scout locations for production. Dressed in Covid safety gear, they seized this rare chance to work without the usual city congestion.
“We felt like a blend of scientists and Martians when that initial team of five ventured out into the city to survey the main sets,” Mosteirin remarked.
The last time Buenos Aires experienced snowfall was in 2007, and recreating The Eternaut‘s frosty landscape has been an ongoing effort for years. K&S negotiated rights with Oesterheld’s estate in the early 2000s. Originally planned as a movie, the project shifted to a series format when Netflix became involved in 2018. “Returning to an episodic structure was optimal for narrative flow and staying true to the original story’s essence,” Mosteirin explained.
The visual effects work involved collaboration with international partners – DNEG in London, ReDefine in Barcelona, ScanLine in LA, Planet X in Holland, and ILP in Stockholm. The producers aimed to integrate VFX in such a way that allowed Stagnaro to maintain his creative approach on set.
“We avoided a traditional visual effects pipeline,” Mosteirin stated. “Bruno is a filmmaker who thrives on creative freedom during shooting; he prefers not to be boxed in by rigid planning.”
The Legacy Of ‘The Eternaut’
Mosteirin has been active in filmmaking since the early 90s, and K&S has been involved in films such as The Revenant and The Road, along with multiple Netflix projects. However, The Eternaut held a unique significance. “It was a sensitive and critical project for us, our team, our company, and for Argentina,” he explained. “We felt a profound responsibility in showcasing our industry and Argentina’s production capabilities on an international stage.”
The series faced challenges, including the creation of 2,000 visual effects shots and the pressure of adapting such highly esteemed source material.
“This isn’t our first large-scale production, but it is the first major one based on Argentine intellectual property,” Mosteirin noted. “We couldn’t afford to fail given the strong fandom and its status as a treasured artistic source.”
With The Eternaut, alongside projects like One Hundred Years Of Solitude from Colombia and Senna from Brazil, Netflix’s Latin American division has several prominent projects in progress, as previously reported by Deadline. While Ramos’ primary role is to generate hits for Netflix subscribers, he believes the regional programming initiative will have a broader industry impact.
“It needs to benefit everyone,” he stated. “We took these bold steps, and while some may have thought we were out of our minds, now others may feel encouraged to create major shows from Colombia, Argentina, Brazil, or Mexico.”
As viewers quickly consume Season 1 of The Eternaut, anticipation builds for what comes next. The first season required eight months of shooting plus a year of post-production. While there’s no official schedule for Season 2 yet, it’s clear it won’t be arriving immediately. For Mosteirin, the challenge lies not in timing but in maintaining the atmospheric quality they’ve established. The plan is for two seasons totaling about 14 episodes.
“We believe we can sustain it for a second season, but no longer,” he mentioned. “Artistically, that’s the cycle needed to keep the show’s mystique and adventurous spirit alive. We aim to push ourselves further in the second season, both technically and creatively, using all the knowledge we’ve acquired to enhance aspects we couldn’t in the first season.”
Daniel Hayes is a business journalist with a focus on market trends, startups, and corporate strategies.
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