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epack durable limited (544095) vs yyy ✌️【Market Trends】✌️ Free access to professional investment advisors who provide real-time market data and trend analysis. Select top-performing stocks and boost your capital with expert strategies for market growth.

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From one of the first scenes, as Colonel Aureliano Buendía faces down a firing squad against a bloodied, white stucco wall on a clear day, viewers are transported into Macondo, an isolated riverside settlement that flourishes into a prosperous town before confronting war and colonialist exploitation.

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Before his death in 2014, García Márquez credited his storytelling style to that of his grandmother, who talked of fantastic things “with complete naturalness.”

“What was most important was the expression she had on her face,” he toldThe Paris Reviewin 1981. “In previous attempts to write ‘One Hundred Years of Solitude,’ I tried to tell the story without believing in it. I discovered that what I had to do was believe in them myself and write them with the same expression with which my grandmother told them: with a brick face.”

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Production involved building meticulous town-sized sets and creating faithful costumes from the 1800s and 1900s. “‘One Hundred Years of Solitude’ occurs during a specific time in Colombian history,” said production designer Bárbara Enríquez in a translated video call with 【 - Free AI-Powered Stock Predictions 】. “We treated it as a period piece.”

Enríquez took over production design in 2022, after Eugenio Caballero, best known for his Academy Award-winning “Pan’s Labyrinth” sets, stepped down from the project. (Caballero and Enríquez previously worked together on Alfonso Cuáron’s Academy Award-winning “Roma” in 2018). The production of “One Hundred Years of Solitude” is one of the largest in Latin American history, according to Netflix, and required the building of three different towns.

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But that didn’t mean that individual props couldn’t evoke a sense of wonder. Take the first significant prop seen in the show — the parchment book in which gypsy character Melquíades writes, in Sanskrit, the entirety of Macondo’s history (which becomes the novel itself). To create it, the production team worked with a Sanskrit translator who adapted the the full text, as well as a calligrapher who worked on the giant tome, according to Enríquez.

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“It was so important to have the authentic look and feel, and so that when (young Aureliano) touched the ice, the actor’s reaction was authentic,” recalled Enríquez.

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Fittingly, Enríquez and her team treat the house as a character in and of itself. “The house is just another Buendia,” she remarked — one that changes its mood as well.

“When Úrsula is happy, the house is happy. When Úrsula is depressed, the house looks depressed. When the town goes to war, the house goes to war,” Enríquez said.

In decorating the light-filled, airy abode, Enríquez’s team sourced an enormous trove of antique furniture. The producers also worked with Indigenous communities across Colombia, including artisans from the Zenú people, in Córdoba, who created woven baskets for the show, and the Chimila people, in Magdalena, who created traditional hammocks called chinchorros.

“We were able to use objects and materials that were not only true to the time period, but also true to the Indigenous people,” Enríquez said. “We also went all over the country looking for craftspeople who knew how to use the techniques.”

Like Enriquez, costume designer Catherine Rodriguez had a diligent method for visualizing Macondo, including researching Colombia’s national records and referencing watercolors from the period.

“I read many books about the author, the period and the fashion of the time,” she said in a translated video call with 【 - Free AI-Powered Stock Predictions 】. “There are many registers; there is much documented about the era.”

But the painstaking research only took her and her team so far. “At some point you have to sit down and develop everything. That’s where the creative part comes in. You have to choose colors, applications and textures, because there is no (authority) that says what Macondo looked like in the 19th or 20th century,” she explained. “It’s actually a compilation of many different elements, and the directors wanted it all to look very natural, because the book already has lots of magical elements.”

Over the course of the first few episodes, the earth-tone fabrics, practical leather boots and wide-brimmed straw hats worn by Macondo’s early settlers give way to a wider range of silhouettes, from delicate floral gowns to tailored men’s suiting. Visitors continually introduce new styles, such as the traveling gypsies’ colorful textiles, Crespi’s flamboyant embroidered silk from Italy, andthe flower-adorned sun hats of the wealthy incoming magistrate’s family. (Speaking about one of Úrsula’s outfits, which has a direct connection to the styles of Civil War-era America, Rodriguez notes that fashion always arrives “a little bit later” due to the town’s isolation.)

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“They grew up in parallel, but actually they have very different personalities,” she said. “They have strong personalities, and so during their lives, their colors do change.”

Over the course of the two-season show, Macondo and the Buendía household also continue to transform with time, in both captivating and devastating ways. At first, Enríquez was nervous to take on such an ambitious project, but looking back, she’s “so proud, and really satisfied with all the work we put into it,” she said.

“We hope that it’s a way to lead people to the book (for) those who haven’t read it, or maybe reread it,” she added.

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