Netflix is doubling down on film and TV from Argentina, opening a new office in the capital, peppering its slate with four new shows, and dishing updates on various others including the latest season of hit series The Eternaut.
The streamer’s new Argentina base is in the Villa Crespo neighborhood of Buenos Aires. The opening, today, comes on the heels of Netflix moving to new bases in both Brazil and Mexico in recent times, meaning shiny new HQs in each of its three main production centers in Latin America.
The specific reasoning for each of the office moves is different, but there is a through-line, Francisco Ramos, Vice President of Content for Latin America, tells Deadline. “We are signaling that we are here to stay because all of these have one thing in common, they have been tailor-made for us. They have the DNA of our offices, like the ones in London or L.A. When you walk through the door you feel you’re in a Netflix office.”
The Eternaut Season 2… and 3?
One of the most eagerly anticipated Argentine TV projects is Season 2 of The Eternaut, which the streamer hopes to have on screen in 2027. There is also chatter about a possible Season 3. The Bruno Stagnaro show is based on the comic and graphic novel by Héctor G. Oesterheld, illustrated by Francisco Solano López. It is reckoned to be the biggest TV show ever out of Argentina. Officially, Season 2 is in advanced development. In a practical sense that means cameras are not yet rolling, but work is absolutely underway and Ramos says Netflix is going big second time around.
“The ambition has gone to a new level,” he says. “Stuff is already happening, but it’s not actually with actors on screen, it’s technical with some VFX conceptualization. The actual shoot with the talent on screen, we don’t know [the dates] yet because it’s way bigger than Season 1, not only in budget, but in terms of scope and conception.”
The producers of The Eternaut (pictured) are also making The Future Is Ours
Marcos Ludevid, Netflix
The series follows events after a mysterious snowfall wipes out most of the population. Juan Salvo – played by Ricardo Darín – and his friends embark on a desperate struggle for survival in the sci-fi series.
Swerving spoilers, Ramos explains the way that Season 1 ended meant Season 2 needed to go to another level to faithfully tell story. Furthermore, the team is working through how and when to hit the necessary plot points in Season 2, with a view to a third outing for the show.
Series producer Matías Mosteirin from K&S Productions told us last year that the tentative plan was to wrap the story over two seasons. It seems there is now the possibility of more. “We need to figure out how we deliver on everything that is expected to be delivered in Season 2, while yet being able to continue with it for a potential Season 3,” Ramos says.
As for the Season 2 launch date, is 2027 possible? “I’m gonna try, for sure, to be on stream next year, but I cannot promise anything.”
When The Eternaut popped internationally, it was proof of concept and offered encouragement to do more out of Argentina, Ramos explains. “When we launched the first season it was a crossroads for our strategy and [Argentina] became a very big country for us. We started seeing more and more that content was not only working locally, but also internationally.”
That explains the new office and bulked-up slate. “The talent pool here is extraordinary, which means that if we were going to try to scale a little bit more, we needed to have the right team here. Until a few months ago, some functions were being handled from the Mexico or Sao Paulo office. But as the slate has become bigger, we decided that we needed to consolidate our country specific structure. It’s doubling up on a country where we have been very successful.”
A New Crime Drama & Doc Trio
Netflix has bolstered the existing Argentina slate with three new docs and a drama series. Crimen Desorganizado (which does not have an official Anglo title but translates as Disorganized Crime) is in production for a 2027 launch. The Pampa Films-produced series follows a group of bank robbers who find the real action starts once they have completed the heist.
On the docs front, Netflix is continuing its pre-World Cup warm-up with another profile piece about a star player, this time the Argentina team’s iconic goalkeeper. The Pegsa-produced feature doc Emi Martínez: The Kid Who Stops Time (first pic, below) will tell his story using archive footage, interviews and animated drawings.
Netflix
Another one-off doc follows Fito Páez, accompanying the Argentine star for over a year through recordings, rehearsals, tours and performances in cities across Latin America, Europe and the U.S. Anima Films is producing and it launches later this year.
Coming in 2027 there is Perfecta: La Voz De Silvina Luna, which reconstructs the meteoric career and final battle of the titular model and actress whose story captivated Argentina. Luna had what was meant to be a simple cosmetic procedure that ultimately caused irreversible medical damage. This is another one from Pampa Films, which produces with Studio 23.
Pablo Larraín, Santiago Mitre & Juan José Campanella Projects
Argentina has an established movie-making heritage while on the TV side, the Netflix investment is spurring a move into high-end series.
“Argentina has an extraordinarily rich tradition of making big films, it has extraordinary filmmakers,” Ramos says. “TV has been smaller. They’ve been very good at doing the equivalent to telenovels, so there was that tradition. We have now found an ecosystem and are pushing into making more ambitious titles and the talent has flourished.”
That talent from the movie side of the industry is now seeing the opportunity in series. When it comes to established filmmakers moving into TV, it requires handing them the creative reins. “The reality is that in Europe or in Latin America, those big directors are the equivalent of showrunners in the U.S.
“Those directors wanted to direct something where they feel they are in control of all the creative decisions. If you want to get someone like Bruno Stagnaro or Marcelo Piñeyro to direct a series, they have to also [own] the creative vision.”
As the doors of the new Buenos Aires office opened, Netflix divulged the latest on a raft of previously announced projects out of Argentina including new pics of My Sad Dead (below), the Pablo Larraín miniseries based on Mariana Enríquez’s novel about a 60-year-old doctor who can see and hear the dead. “I’ve seen four episodes and I think it’s one of the most beautiful pieces of television we’ve made in Latin America,” Ramos says.
Netflix
Also for the second half of 2026, there is A Good Therapist, a movie starring Ricardo Darín as psychoanalyst who begins to push the boundaries with his patients. Everything seems to be going well until a writer suffering from writer’s block, played by Diego Peretti, comes to his office.
There is also Felicidades. The comedy film is an adaptation of the hit stage play of the same name. It is directed by Alex de la Iglesia and produced by and starring Adrián Suar alongside Griselda Siciliani. 2027 film highlights include an untitled Santiago Mitre political thriller starring Verónica Llinás and Peter Lanzani.
Series for next year include Philip K. Dick adaptation The Future is Ours from K&S, and an untitled project from Sebastián Borensztein about a tango singer of Jewish heritage tricked into traveling to Nazi Germany during World War II.
Elsewhere, Netflix and NBC Universal Telemundo’s Underground are teaming on Tiempo Al Tiempo a time-travel tale about a couple who first meet in the 1990s. Another Netflix-Underground series is In The Mud, which will come back for a Season 3. Other returners include Adrián Suar’s series Envious.
Oscar-winning director Juan José Campanella’s animated series adaptation of the Mafalda comic strip, meanwhile, drops in 2027. The first pic is here (below).
Netflix
The Backdrop
Amid the fanfare, it cannot be ignored that Netflix’s increased investment in Argentina comes amid economic turmoil in the country. In the cultural sector, there have been cuts to the National Institute of Cinema and Audiovisual Arts (INCAA).
“Potentially, there might be some interesting projects that are falling between the cracks because the ecosystem has been somehow narrowed,” Ramos says.
“We are trying to figure out how to expand the slate so that we are open to new voices that may not be able to get momentum in their careers because of the situation. We need to help them to figure out other types of structure so that they get their [projects] made.”
