Immersive Documentary 360

Antártida, un legado de soberanía (Antarctica, a Legacy of Sovereignty) In 1902, José María Sobral, twenty-one years old, became the first Argentine to winter in Antarctica as part of the scientific mission of a Swedish expedition led by Otto Nordenskjöld. When their ship, the Antarctic, captained by Carl Anton Larsen, was crushed by ice, Sobral and his companions built a station on Cerro Nevado to carry on their scientific work through a second, unplanned winter: rationing food, hunting seals and penguins, until Lieutenant Julián Irízar led a rescue on foot across twenty kilometers of frozen sea. Teo, a historian working at Argentina's Ministry of Foreign Affairs, read Sobral's diary as a boy and never stopped thinking about it. Decades later, he is invited to join the Antarctic Summer Campaign: ninety days, 2,160 hours, alongside four companions, Pablo Fontana, Lucas Cammilleri, Gonzalo Saracco, and Nicolás Orsingher, camping in tents beside the very station Sobral once built, preserved today as a historic site known as the Swedish Hut. Their work there is twofold: conserving and restoring the hut itself as a historic monument, and recovering the objects the original expedition left behind, now surfacing on their own as global warming devours the frozen ground around them. The work is harder than he imagined: cold that won't let him take off his gloves to eat, isolation, and a question he can't shake: what is a historian doing here, cataloguing a bullet from 1902 in the middle of a melting desert? The doubt breaks only when he returns to Sobral's diary and finds, in a line written over a century earlier, the same isolation, the same unresolved fear, and an answer: you cannot defend what you do not love, and you cannot love what you do not know. The film is built from several layers at once. Field recordings, in both 2D and 360 degrees, document the station as it stands today, while Unreal Engine 5 rebuilds the Antarctica of 1902 through photorealistic virtual production. Archival material threads through the rest: Bodman's original photographs from the 1902 to 1903 expedition, footage preserved at the Museo del Cine Pablo Ducrós Hicken, period newspaper images restored through AI, Sobral's own manuscript, and Argentine Navy footage of the 1950s claim over Cerro Nevado. As the ice thaws, the ground gives back its own material too: tools, artifacts, and fragments of the original expedition, surfacing alongside everything restored and rebuilt. Presented as an immersive installation, the piece places its audience inside both timelines at once: the camp today, and the Swedish Hut as it stood in 1902, so that what was only archive becomes tangible again: an echo of the past made flesh in the present.