By Chlotrudis Independent Film Society
Rating: 4.25 cats
Director: Pablo Larraín
Starring: Alfredo Castro | Antonia Zegers | Gael García Bernal | Luis Gnecco | Nestor Cantillana
Country: chile, france, united_states
Year: 2013
Running time: 118
IMDB: http://www.imdb.com/title/tt2059255/combined
Thom says: “This was a TIFF 2012 entry that I was dying to attend but they didn’t award me a slot. This film from Chile concerns itself with the plebiscite that finally overthrew the heinous Chilean dictator Augusto Pinochet in 1988. Pinochet had come into power in 1973 when as head of the Army he had staged a coup against President Salvator Allende who then committed suicide. Through enormous international pressure Pinochet, not expecting anything but a ‘Yes’ vote to the referendum asking approval on his regime, allowed the opposition a certain amount of time to advertise (very late at night) every day. René Saavedra, a sharp, young ad executive is somehow persuaded to head the ‘NO’ campaign, and through his insight and dramatic flair he is able to raise the campaign stakes which finally leads to the death of the repressive regime. We get bits & pieces of Saavedra’s personal life (he seems to always be squiring around his quiet, but charismatic, young son) but through the power of Bernals’s exquisite performance we are much more concerned with the dramatic shift in Saavedra’s political beliefs. He has easily bypassed forming any opinions of the killing reign of Pinochet as he has grown rich in the meantime. Through telling first-hand witnessing of the existing horror, and lies from acquaintances and friends he slowly comes around to the growing opposition force. Bernal is an especially fine example of the power of high acting, because even though he possesses extreme good looks he rarely flaunts his sex appeal, but rather represses it. He also has chosen great roles that examine his political strengths and this is another in a long line of successes. My one drawback to this film was the decision to film the proceedings with videotape so that the real footage that was shown would blend in seamlessly with the directed scenes. It didn’t always work. And, for some reason, the real footage of Pinochet made him look like a clown, although in retrospect I suppose that’s what they were going for. My movie-going companion didn’t hold the film in nearly as high esteem. 4.5 cats”
Kyle says: “I’m always delighted to see coverage of this excellent film, which I saw at the New York Film Festival in October. Gael Garcia Bernal is forging a bold and memorable career with off-beat roles, and eschewing Hollywood stardom in favor of artistic control. He has also grown into an amazing actor. I think the single best performance in the entire NYFF, including Daniel Day Lewis’s evocation of Walter Brennan in LINCOLN, is a scene of Bernal leaving his young son with his wife, from whom he is separated. As he departs, there are at least three clearly conflicting emotions in his eyes, as he otherwise does nothing but walk away. If you have not yet become a fan, check out BAD EDUCATION and THE LONELIEST PLANET.”
Chris says: “Most modern consumers know that politics can be as much a commodity as any form of entertainment; in 1988 Chile, it was still an idea ahead of its time. NO gives a subtly puckish account of the media campaign surrounding that year’s referendum where citizens were asked to vote ‘no’ or ‘yes’ on whether longtime president/dictator Augusto Pinochet should remain in power. Rene (Gael Garcia Bernal), a young adman well-versed in the peppy aesthetics of cola commercials, implements an idea that seems obvious now but was radical for the time and place—that any sort of campaign, political or otherwise could be most effective as a soft sell. It had to be something light, inviting and fun—like a cola commercial. Rather than merely create the vintage campaign commercials, director Pablo Larraín inserts the actual ads into this film while shooting everything else in smeary, old school video to ensure a seamless transition. The results aren’t visually appealing in any traditional sense, but that’s not the point; in terms of recreating an era with authenticity, it’s a complete triumph, with Bernal’s low-key performance grounding the film. If the overall pace drags a bit at times, the finale, when Rene and his crew witness the fruit of their labor is inspiring and sincere, a neat capper to the rest of the film’s persistent craftiness. 4 cats”