Enzo Vogrincic: “Uruguay has the human capital to develop cinema at any level”

In a world where survival stories captivate audiences, the film Society of the Snow stands out as a poignant and symbolic tale. Its appeal lies not only in the gripping plot but also in the rich cultural context and the considerable effort that went into its production.

The film recounts the harrowing ordeal of the Uruguayan rugby team whose plane crashed in the Andes in 1972. It has received Oscar nominations for Best International Film and Best Hair and Makeup Design. Directed by Juan Antonio Bayona and utilizing Uruguayan locations and technical resources, the film has garnered 12 Goya awards, including Best Film, Best Direction, Best Production Direction, and Best Cinematography, with the latter awarded to Uruguayan Pedro Luque.

At the heart of this cinematic phenomenon is Enzo Vogrincic, the Uruguayan actor whose portrayal of Numa Turcatti – the protagonist and narrator, who was one of the survivors of the crash – has significantly boosted his career. This role has also enhanced Uruguay’s international visibility, cementing its status as a globally relevant center for audiovisual production. This progress owes much to the robust development of the local film industry, sustained policies by the Uruguayan Film and Audiovisual Agency (ACAU), and the efforts of the investment, export, and country image promotion agency Uruguay XXI.

Vogrincic’s journey in acting is a tale of determination and luck. At 15, he was already sure of his future in acting and saw EMAD as the perfect place to hone his craft, even though he initially saw filmmaking as an unattainable dream. His career is proof of his clear vision and dedication, constants in a life filled with uncertainties.

His path to success, as Vogrincic describes, has been fortuitous, marked by coincidences and unexpected opportunities. Despite his talent and dedication, he acknowledges that luck played a significant role in his journey, particularly in landing his role in Society of the Snow, which has become a landmark in Spanish cinema.

Vogrincic’s professional career began in theater, where the Comedia Nacional provided him with his first significant roles. A breakthrough came when Uruguayan director Sergio Blanco cast him in “Cuando pase sobre mi tumba,” a play that not only premiered in Uruguay but also toured Buenos Aires. This experience led to his casting in Society of the Snow, securing the pivotal role of Numa Turcatti and an invitation to the Oscars.

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— What does it mean to you to be part of this project that has global success and tells a significant story for Uruguayans?

— Being part of this project is incredibly memorable for me because it allows me to share one of our legendary stories. It's akin to the Maracanazo in its significance. It's extraordinary because, through this film, I'm not only working in a profession I deeply love but also sharing something uniquely ours. It resonates with me personally and with our people, adding profound meaning to my work. This project has also given me the opportunity to discuss Uruguay and its culture at conferences in places like Los Angeles and New York, engaging with audiences in Spanish. It's rewarding to see people learn about and be surprised by our country.

— What insights do you hope the international audience will gain about Uruguay through this film?

— I hope the international audience recognizes the characteristics that define us, such as our solidarity, humility, and the close-knit nature of our society. In Montevideo, it's common to run into someone you know just by stepping outside. I've shared in interviews how Uruguay feels like a tight community, especially given our small population of just about a million and a half in the capital, which is relatively quiet. This tranquility and the ability to remain unobtrusive, even during more public moments of my life, is something I've come to cherish about Montevideo, setting it apart from other cities.

— Does this film contribute to the Uruguayan cinema, attract more co-productions to the country, or promote Uruguayan talent in any way?

— Absolutely the production of Society of the Snow is at a very high level; it demanded a caliber of work, pace, and production quality previously unknown to me.However, once filming commenced in Montevideo, it immediately took off. That’s when I began to see that we have the capacity and human capital to develop films at any level.

A CATALYST FOR THE URUGUAYAN INDUSTRY

Society of the Snow has the potential to serve as a catalyst for the Uruguayan cinema industry and to attract co-productions to the country. The project's successful recreation of iconic Uruguayan locations, including the former Carrasco airport, along with the high level of production achieved across Uruguay, Argentina, and Chile by the Uruguayan production company Cimarrón, has showcased Uruguay's capability in both human and technical resources necessary for film development.

Through his participation in Society of the Snow, Vogrincic has also naturally emerged as a global ambassador for Uruguay, effectively bringing the nation's history and culture to the attention of international audiences.

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— Do you view film as a powerful tool to promote the country as a desirable location for productions?

— Cinema is immensely powerful; it's a formidable means of communication. When it reflects reality, as this film does, its impact is profound because it evokes emotions through real events, establishing a connection with the audience. Technically, Uruguay excels. Cimarrón possesses outstanding resources, enabling them to execute complex shoots with ease. Globally, there's an underappreciation for our country's beauty. The diversity of landscapes in Uruguay offers endless storytelling opportunities. There are numerous stunning locations, not just within cities, that can be showcased through film, attracting the industry with Uruguay's scenic beauty.

— On several occasions, you have commented on your connection with the story told in Society of the Snow, a narrative deeply rooted in the hearts of Uruguayans. What responsibility did you feel when playing your role?

— My responsibility is, first of all, with my work, which always leads me to work in depth and commit myself to whatever I have to do. But the responsibility here increased in the commitment to reality in having met Numa’s (Turcatti) brothers; they showed me their house and told me anecdotes of when he was a child and when he was a teenager, the responsibility to relive everything. Suddenly, they trusted me; they opened up and sometimes even called me Numa. While we were shooting all the time, we were thinking about how special it was going to be the day the survivors and the families would see it. The commitment was more that way, with the family, with what is real, with knowing that this story happened, that someone lived it, and there is simply someone on the other side waiting for this to be told in the best possible way.

— Did you imagine the film would have this repercussion in Uruguay and internationally?

— When I heard they would make a film about this story, I told myself, ‘This is one of those films you must be in.’ Telling this story is spectacular; I knew it and learned how powerful it was, and I have seen through the survivors and, in other ways, how people connect with this story and become obsessed. When we saw the shots, we knew it would be good, and there was a feeling on set that we were shooting something special. I imagined it because there was also Netflix, which would massify it to 190 countries. So the story, plus (Juan Antonio) Bayona, plus Netflix, evidently there was no other way than massive.

— It was massive, but also the fanaticism acquired extraordinary dimensions.

— Surreal. The other day, I received a video in which they made a cardboard doll of me and moved it for someone’s birthday, things that started to become delirious. Dolls, T-shirts, homemade merchandise, made by the people.

Uruguay is a first-class audiovisual hub, offering versatile locations and a diverse casting population. With initiatives like the Cash Rebate program, which reimburses up to 25% of eligible expenses, and VAT exemption, Uruguay has attracted international production companies, including Disney, Amazon Studios, HBO, and Netflix.

Advanced film infrastructure, local talent, and a favorable policy for international business are promoted under the Uruguay Audiovisual brand. Recently the executive director of Uruguay XXI, Sebastián Risso, together with the president of ACAU, Facundo Ponce de León, also presented the sub-brands Uruguay Films, Uruguay Film Commission, and Uruguay Video Games, which promise to strengthen the country’s vibrant audiovisual industry further.

Following the success of Society of the Snow, Vogrincic is at a crucial moment in his career. However, he chooses to give himself a break until the Oscar ceremony to fully digest this unique experience before embarking on future adventures. Now, with an eye on the future, it remains to be seen how the film will fare at the awards and whether Uruguay will once again reach the top of the film industry, although the road has already proven to be full of triumphs.