No (2012)
No (2012)
DVD9 Custom | VIDEO_TS | PAL 16:9 | 01:52:50 | 6,94 Gb
Audio: Spanish AC3 5.1 @ 448 Kbps | Subs: English (added)
Genre: Drama
DVD9 Custom | VIDEO_TS | PAL 16:9 | 01:52:50 | 6,94 Gb
Audio: Spanish AC3 5.1 @ 448 Kbps | Subs: English (added)
Genre: Drama
Director: Pablo Larraín
Military dictator Augusto Pinochet calls for a referendum to decide his permanence in power in 1988, the leaders of the opposition persuade a young daring advertising executive - René Saavedra - to head their campaign. With limited resources and under the constant scrutiny of the despot's watchmen, Saavedra and his team conceive of a bold plan to win the election and free their country from oppression.
IMDB
René (Gael García Bernal) is a hotshot creative for a Chilean advertising agency when he is asked to work on the “No” campaign during the 1988 Chilean national plebiscite. The democratic national referendum is being held to determine whether General Augusto Pinochet should have another 8-year term as President of Chile. Written off as perpetuating the communist agenda, the “No” campaign is actually a pro-democracy catch-all for a coalition of 16 opposition parties who oppose Pinochet. They are given 15 minutes of airtime, in the middle of the night, to broadcast their message on state-run television. From most people’s perspective, Pinochet has no chance of losing, so working on the “No” campaign seems to be a lost cause. Nonetheless, René sees it as a worthy challenge, if only to re-catch the eye of the somewhat estranged mother of his child, Verónica (Antonia Zegers), who is fervently anti-Pinochet.
No (2012)
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Used to working on popular and slick advertising campaigns, René opts to use the same approach for the “No” campaign. Utilizing a catchy jingle and eye-catching visuals, René sells the “No” campaign the same way he would approach a Coca Cola (or, more appropriately, Free Cola) advertising campaign. News of René’s plan is appalling to old school politicos who want to use the “No” campaign as a soapbox to speak out against Pinochet’s violent oppression of the Chilean people; but ever since Pinochet delivered market-driven economics to Chile (which promises that anyone can get rich, but not everyone), the Chilean population has grown increasingly familiar with the marketing and advertising tactics of popular culture. René must unabashedly trust in Marshall McLuhan, as he wholeheartedly believes that the Chilean people will understand the modern message that he is communicating; more importantly, this approach will appear in sharp opposition to the cold and calculated advertising campaign run by the Pinochet camp.
No (2012)
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The true strength of Pablo Larraín’s No is the medium of the message — the way the film authentically captures the visual aesthetic of 1988. Cinematographer Sergio Armstrong shot No with a circa-1983 Ikegami video camera. The hazy, off-color, low resolution footage recorded on 3/4″ Sony U-matic magnetic tape allows Armstrong’s narrative footage to match perfectly with the archival footage of political protests, riots and police atrocities; even the editing style of No seems to mimic the linear, tape-to-tape, hard edits of 1980s South American television.
No (2012)
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No is a purely cinematic treatise on the role that technology and advertising play in modern day elections. It is not without irony that No showcases an election that was won with pleasantly cheerful advertising techniques rather than the brutally aggressive mud-slinging attack ads that we have grown oh-so-familiar with in the United States. Overtly negative advertising is the precisely the tactic that Pinochet’s campaign adopts when they sense that the electoral tide is turning, but that only pushes more voters towards the “No” vote. As an outcome, I am surprised that more U.S. political candidates have not attempted to run all-positive ad campaigns, mimicking the “No” approach in defense of overly-aggressive opponents.
No (2012)
A winning retelling of the Chilean national plebiscite of 1988, which resulted in dictator Augusto Pinochet falling from power, No is part three of a trilogy by director Pablo Larraín that began in 2008 with Tony Manero and continued in 2010 with Post Mortem, which depicted the start of Pinochet's 17-year reign. For the capper, Larraín employs a vintage aesthetic that's wholly immersive, with the filmed action not just intercut with archival footage, but matching it as well. A shoddy-looking film by typical standards, No sees its characters awash in the alternately grayed and saturated hues of retro video, and as adamantly un-sharp as the figures in decades-old home movies. Playing René Saavedra, an advertising hotshot enlisted to aid the campaign against Pinochet (supporters were known as the "Yes" party; those in opposition, the "No"), Gael García Bernal is filmed, alongside his co-stars, with a U-matic video camera circa 1983, dug up by a committed Larraín to present a uniform visual scheme. Naturally, watching No isn't a totally seamless experience, but as the film unfolds, Larraín's technique proves far more than mere novelty, pulling the viewer further into the period and evolving to become uniquely and unexpectedly beautiful.
No (2012)
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International pressure forces the plebiscite, or referendum, on Pinochet's presidency, and the chief challenge for the "No" underdogs is to sway the undecided, educating the ignorant young and roping in the complacent old. Conventional wisdom says to use the typical scare tactics, publicly broadcasting horrors and statistics (33,000 killed; 200,000 tortured), but the irrepressible René steps in with a different plan, diverting the opposers' trajectory toward a place of near-farcical peace. Traditionally trained in the arts of sales and people-pleasing, René concocts an approach deemed offensive by many of his peers, offering a sample PSA that mirrors a trite and tacky Coke commercial, and allegedly undermining the seriousness of people's suffering. But despite the naysayers, René persists, and with a team that's also well-stocked with skeptics, he films a campaign that pulls together an embarrassment of '80s TV clichés, from big-haired backup singers to parades of neon-colored clothing, all captured in the same dog-eared format resurrected by Larraín. No's sense of nostalgia is a major part of its appeal (especially when clips pop up with celebrity "No" supporters like Jane Fonda and Christopher Reeve), but it doesn't trump the infectious satisfaction of René's promotion of positivity. "Faith is what will change Chile," the adman says, and despite his goofily frolicsome TV segments, there's nothing kitschy about the character. In terms of plainly combatting cynicism without glopping on sentiment, No is something of a marvel, and unlike most fact-based films, it simply lets you watch unlikely, unwitting heroism develop.
No (2012)
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René's elaborately overproduced videos catch on, of course, so much so that Pinochet's own supporters, including René's duplicitous boss, Lucho (Alfredo Castro), scold their own campaigners and scramble to counterattack, resorting to the very mud-slinging the "No" clips gleefully avoid. The movie achieves the intensity of a journalistic thriller as it introduces threats on the lives of René and his crew members, a development that forces René to tearfully leave his son, Simon (Pascal Montero), with his estranged wife, Verónica (Antónia Zegers), a radical activist who's against the vote altogether. What No ultimately shows is a political awakening, charting the liberation of an oppressed people via the rapid and pivotal inner changes of one man. Though unwaveringly devoted to his endpoint, René, whose every move rings true in Bernal's control, begins his "No" campaign gig as a seemingly unfazed salesman, believing in the cause in the same way he might a product in a pitch meeting. By the end, he's walking amid the pro-"No" revelers like a shell-shocked convert, on the verge of tears while processing the fact that he essentially just spearheaded Pinochet's unseating. A singular biopic and a snapshot of a society renewed, No unaffectedly celebrates faith in democracy, and, surprisingly, truth in advertising.
No (2012)
Special Features:
- Presentacion y rueda de prensa
- Trailer
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