No

Preceded by Tony Manero and Post Mortem, No completes Pablo Larrain's loose trilogy about life under Chilean dictator, Augusto Pinochet. Albeit conceived in strong historical and socio-political context; this story is a simple tale centered on young advertising executive, René Saavedra (portrayed with flair by enigmatic chameleon, Gael García Bernal) — thus making the film accessible to a wide range of foreign viewers.

The time is 1988 and Pinochet has been in power since 1973. In a calculated move to mitigate external pressure against his ironfisted regime, Pinochet confidently initiates a national referendum calling on citizens to vote and decide, whether an eight-year extension into 1996 is valid. The probabilities of course, are carefully measured and his likelihood of winning is rock solid.

In this heartfelt homage to Chilean history, both sides are attempting to secure voters by fighting it out via 30-minute spots on TV — 15- minutes for the "Yes" camp and 15-minutes for "No".

An agency that employs René has been commissioned to design a series of ads for the Government of Junta; with bossman Luis Guzmán (Alfredo Castro) helping Pinochet. Conflicts of interest arise when René exercises his liberty as a freelancer in contra — to formulate the opposition's campaign.

Story begins with a cold open showing creative grit — René is previewing a new commercial with clients in the beverage industry. Within the first few minutes, we find out who he really is — a shrewd and introspective creative director, highly sought after in the business, bit of a rebel in the vein of Don Draper — someone who believes in unorthodox methods and selling the notion of freedom.

A sudden visit from opposition manager José Tomás Urrutia, interrupts his meeting with the clients. In conversations between René and José interfused with a dinner scene between René and his boss, Luis — we drift through a climate of skepticism surrounding the legitimacy of Pinochet's reign, residual fears evolved from the red scare, and reservations about United States after their alleged involvement in the Chilean Coup of 1973. Accusations and recriminations are spewed in hushed, civil tones. Disparity in views (as they are in life) are documented in raw, unfiltered strides.

In a sequence depicting René's journey home on a skateboard, audacious visual-aural symphony amplifies his transformation, and the situation about to unfold. A representative of young blood, it is here that Larrain's spunky protagonist displays progressive streak coursing through his veins, thus establishing an emotional, life-affirming choice provoked by his earlier exchange with Luis.

The film charts two narrative blueprints juxtaposed next to each other: the No campaign from inception to post-referendum, and how it is inextricably linked to René's democratic ideology. Against the backdrop of fierce competition between both camps, his middle-class existence as a single father still harboring feelings for the ex-wife comes into close, thematic focus.

When public opinion becomes cultural movement and things begin to swing in favor of No's provocative campaign; hinting at political activism cleverly cloaked in neutral concepts such as love, happiness and freedom, Pinochet's lackeys begin a series of menacing threats that hover in dangerous, unpredictable shadows. Shot with an aspect ratio of 4:3 using analogue tape; the format also implies a cautionary facet to this film — concerned with lasting effects created by commercials in the heydays of TV, suggesting how a simple medium and viral marketing can radically influence political views of the masses, creating landslide victories for the underdog.

Things comes to a hauntingly ironic conclusion, that much is obvious, but No is a tremendously simple film that burns with quiet ferocity. Pablo Larrain displays talent in using visual moods, incisive dialog and dramatic scores; giving shape to the social atmosphere in 1980s Chile — rife with unquenchable thirst for liberty and change, yet pensive and scarred by a violent past.

Although punctuated with flashes of humor and scathing wit, this Oscar nominee in foreign language category is an intense historical drama that works on a deeper level by finding resonance with universal emotions. Passion seeps through every frame, culminating in a mood most aptly expressed by Tchaikovsky's valse sentimentale.

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NO is the story of the advertising campaign surrounding the 1988 referendum that was supposed to "elect" General Pinochet to another eight years of dictatorship in Chile, win or lose.

Pinochet's government were an arrogant bunch; 15 years of dictatorship will do that to you, to the point that the election was largely seen as a farcical exercise merely to validate his rule.

So, the fact that this election campaign won a seemingly un-winnable election and validate real democracy in that it began the end of Pinochet's rule is still a pretty incredible turn of events.

The film itself tells the story of Rene Saavedra (Gael García Bernal) an in demand advertiser with a troubled home life who spearheads the NO campaign by putting a positive, consumerist spin on it with plenty of humour to be had... www.ravechild.co.uk

I only knew about this film from Chile simply entitled "No" because it was nominated for Best Foreign Language Film. Before watching the film I learned that this film would be starring a known star, Mexican actor Gael Garcia Bernal (of "Y Tu Mama Tambien" fame). I was more intrigued to make this the first Chilean film I would ever watch.

"No" refers to the vote of "No" in a national referendum held in Chile in 1988 with the question of extending the dictatorial presidency of Augusto Pinoche for another eight years. Hip young advertiser Rene Saavedra (Bernal) was tasked to lead the advertising campaign for the impossible "No" vote. His modern methods meet resistance within the "No" camp. It also put his and his family's safety at risk. Will Saavedra's unorthodox political advertising techniques get the job done?

I found this account of Chile's recent history very educational and interesting. As I also come from a country that lived through and deposed a dictator through a peaceful revolution just a year or so before this event in Chile history, I recognize and identify with the experience and sentiments of the people involved.

I did not know whether "Yes" or "No" won, so there is very palpable suspense while watching this very realistic film. It felt like a documentary in its faded color palette, gritty camera work, accurate production design, and interweaving of actual news footage. It was also quaint in the cultural sense, as we learn about unique societal attitudes and behavior in Chile, a country I know very little about.

Maybe its chances of winning the Oscar are not too big since it is up against the higher profile "Amour", which is also nominated for Best Picture and Best Director. However, I am thankful for its nomination because this history buff has learned a lot from this film.

First, let me start by saying that some knowledge of the events depicted in this film would come useful. I'm Chilean and lived in the country at the time so I knew what to expect, but foreigners and especially younger audiences might not. Back in 1989, there was a referendum to decide if Augusto Pinochet, Chile's dictator for the past 15 years, would stay on for another 8 or democratic elections would be held instead. The choices were "YES" for 8 more years of military dictatorship and "NO" for democratic elections to be held at the end of 1989. This film is a depiction of the political, social and creative aspects that shaped the ad campaign created by those who supported the option "NO" (hence the title of the film) the problems they faced in creating it and the memorable result achieved.

Of course, there were several other aspects that sealed Pinochet's fate as President besides a creative ad campaign, but this movie is a worthy effort to show how a country really came together and changed its destiny focusing on joy and creativity and trying to leave behind fear and anger. It's filmed video-style which really gives it an 80s look and feel; there are several real-life images and video clips which are a nice treat, because they show what the charged social atmosphere was really like back in those months. You don't need to be a Chilean to like this movie; the script and acting are top-notch and it's not a propagandistic film at all. I actually thought it was pretty objective considering this is really a polarizing subject matter in my country; the audience laughed several times and seemed to truly enjoy it. For film lovers in general, it's an intelligent piece of cinema; for History buffs an objective perspective on how things went down. For everybody else, a fun film to watch regardless. I recommend it hands down.

¨Adios, Mr. Pinochet¨

No is one of those films which I wasn't looking forward to seeing because I just wasn't interested in the subject matter. I'm not into historical political movies, but this film was much more than that. No works more as a media satire than an actual political movie. The satire works really well and it reminds us of how important the media can be in our society. No should be required viewing for all advertising students in schools around the globe. The film works in great part thanks to Gael Garcia Bernal's performance as the ad executive who comes up with the campaign for No in the referendum. Bernal has proved in the past that he's a very reliable actor, and one of the best in Latin America. The film also has great direction from Pablo Larraín, who decided to shoot the film using U-matic video tape to give it a more 80's vibe since that was the type of video which was used then. That brought a sense of realism to the movie, and at times it felt like a documentary. This was a well crafted film, and a decent contender for best foreign film of the year. It lost to Amour in the Oscars, but received a lot of love in the Cannes Festival last year. The screenplay was very well adapted by Pedro Peirano (who also wrote the screenplay for 2009's The Maid, a well received Chilean film) from Antonio Skarmeta's (famous for his novel Il Postino) play. This is one art house film you won't regret watching.

It's the end of the 80's and Chilean dictator, Augusto Pinochet, has called for a national referendum after being pressured by international organisms. After 15 years of dictatorship, Pinochet is allowing the country to vote Yes or No to him extending his rule for 8 more years in the country. Everyone is convinced that this is all a farce and just a means for Pinochet to legalize his authority. Pinochet is also convinced he will win the elections considering that he has brought economic stability to the country. For 27 days both parties will be allowed to have a 15 minute spot of uninterrupted television air time in which they can campaign. This is where the young ad executive known as Rene Saavedra (Gael Garcia Bernal) comes to play. The No coalition decides to hire him to lead their campaign, but what they don't realize is that he will bring a unique approach to the campaign. Since Pinochet's dictatorship was known for its brutal intimidation and censorship, everyone in the No coalition expects to make their voice heard and focus on the violence and brutality of his government, but Saavedra has a different view: He wants to make a joyful, colorful, and upbeat campaign where the primary message is that ¨Chile: happiness is coming.¨ Everyone in the campaign is upset about this, including Saavedra's ex wife, Veronika (Antonia Zegers), who thinks all this is just a waste of time. However, the campaign begins resonating with voters, and Pinochet's people decide to hire Saavedra's boss, Lucho Guzman (Alfredo Castro), to counteract the comedic and joyful campaign. Things won't be easy for the No coalition because the government begins intimidating and pressuring them through violence, but Saavedra knows that his campaign can change the course of the country for the better.

Advertising is a powerful weapon in today's world, and more than ever we see governments trying to control and censor the media. The reason being that they know that it can shift elections and bring down tyrannical leaders. That is why more than ever, we must fight to keep governments from trying to control or censor the media. What a lot of politics have done is use advertising wisely to get elected. The film is a great case study on politics and media and how they are correlated. No is a film everyone involved in media and politics should see because it shows the advantages and disadvantages that this medium has. Pablo Larrain has directed a powerful film which teaches us how the media can influence public opinion so easily. If only we could have more uplifting and joyful political campaigns like this I would be much more interested in voting. I vote yes: go see this movie.

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