El Conde

The B/W cinematography is one of the best elements of the movie whilst the nun character is pretty useless because everything just could have unfolded in the same way without it.

Regardless the latter, the performances are great, but I think Chilean audiences should understand in a better way the jokes, allusions to Pinochet family and his actual political history than any other. I think that's not very efficiently worked in the script.

In the other hand what the script does work smartly enough is the relationship between him and his wife Lucia showing clearly who was in charge of everything.

A weird, not fully accomplished but in a way entertaining movie.

EL CONDE (2023) - Director Pablo Larrain (SPENCER, NO) grew up in Augusto Pinochet's Chile and has used that backdrop to inform his work, but never so directly as in EL CONDE - although, with a major twist. In EL CONDE (The Count), Larrain makes Pinochet a literal monster: A vampire who, even after death, is still sucking the soul out of the Chilean people.

Larrain, working with frequent screenplay collaborator Guillermo Calderon, has fashioned a true horror film. Gory and full of grotesque scenes, but, at it's core, it's a pitch black satire. It's not the first time that Larrain has taken such a fanciful tack with a 'bio-pic', his fabulous 2016 NERUDA turned the life of the namesake poet into a Film Noir thriller. EL CONDE is narrated in English and compactly traces Pinochet from his youth 250 years prior in France to his reign in Chile from 1973 to 1990 (Pinochet actually did have family roots tracing back to France). The bulk of the story takes place in the years after his official death (2006). Pinochet (Jaime Vadell) is living in a decaying old mansion with his long-time right hand man and butler, Fyodor (Alfredo Castro) and his less than loving wife Lucia (Gloria Munchmeyer). Pinochet's brood of ingrate children have gathered to divy up the family fortune which, in true dictator style, was largely stolen. An accountant, Carmencita (Paula Luchsinger), has been summoned to oversee the financial skulduggery. Carmencita is a nun and she functions as the 'Van Helsing' of the piece. She's also doubles as an Exorcist of sorts.

The movie is shot exquisitely in Black & White by the great Ed Lachman (CAROL, VIRGIN SUICIDES). Lachman's work truly ascends when the Count takes flight sweeping over the landscape like a dark overlord. A later, first flight of a vampire, is one of the most soaring sights in a film this year. The sound work here is exceptional with a surround sound symphony of creaking floors and rotting detritus. The classically based music score adds to the gloom and doom. Visually, Larrain and Lachman make references to films such as Carl Dreyer's JEANNE D'ARC (Actress Luchsinger bears a striking resemblance to Falconetti) and VAMPYR. This count isn't content to just drink the blood of his victims - he consumes their very hearts as well.

The theme of vampirism is an obvious metaphor, but Larrain handles it well, with delicious dark touches. Still, he can't help but let things get a bit too fanciful and drags in everything from Marie Antoinette to the Falklands war to a surprise cameo. It muddies things up a bit and extends the allegory a bit too thin, even as it strikes a strong blow about the permanence of evil.

EL CONDE is a stirring movie, that doesn't fully hit its marks, but it does so with masterly style and intellectual vigor.

I'm still not too sure what to make of Pablo Larrain's "El Conde", a movie that while artistically impressive, seemingly has a ton of historical context that's lost on anyone not familiar with the Chilean history it tries to critique and satirize. The obvious is that it portrays Chilean dictator Augusto Pinochet as a centuries old vampire, and while what follows could(?) hold a lot of interpretive value to those who are of its ideal target audience, it is almost a gimmick gradually overstaying its welcome to those who aren't.

It's undoubtedly a visual masterpiece, with some of the most surreally beautiful cinematography you'll ever see, and its exploration into themes of power and corruption are amusingly perceptive. But at the end of the day, it feels like "El Conde" was intended for a particular audience who could fully appreciate the movie, and unfortunately to those of us who aren't part of it, it might come across as just another gimmick.

Pablo Larraín in his excellent black comedy offers us here an act of commitment to the most basic desires and thoughts of the dictator, murderer, coward and thief Augusto Pinochet, at a time when the entire progressive and left-handed world is quick to consider him dead.

Larraín shows us that this Beast acted in the name of justice, which cannot be reduced to law or right and deep down he never cared at all what the rest of the people thought. It elevates greed to the highest motivation in the spirit of Pinochet. That was Pinochet's great work in Chile, in transforming us into heartless and greedy beings. Pinochet is more alive than ever. Jacques Derridá would say "the specters of Pinochet fly over Chile."

Many people in Chile not only forgive the 3,000 deaths and 200,000 tortured, in fact, they applaud him and many of them even condemn the fact that he would not have murdered more left-handed people.

But what they don't want to believe and go into denialism is all the money that this criminal stole. They would never forgive themselves for that and that is why the Neanderthal brain of the fascist majority in Chile blocks these facts and ignores them. Because a hero would never be a professional thief like Pinochet was.

El Conde: Pinochet as a 250 year old vampire, born in 1766, he discovers his true nature as an adult and slays the vampire hunters who attempt to stake him. An ardent royalist he rescues the head of Marie Antoinette (after locking her blood from the guillotine blade) and keeps it pickled in a jar. Faking his own death he fights against revolutions throughout the centuries changing his identity and making himself younger time after time. Eventually he ends up in Chile as the young Lieutenant Pinochet, his career proceeds and he overthrows Allende instituting a bloody dictatorship but eventually he falls and is reviled. He fakes his death once more and retires to a country retreat with his wife and faithful butler. He finally wants to die a for real but has forgotten where his ill-gotten gains have been hidden. His five children descend on the estate intent on getting their inheritance. An accountant has been hired to track down the missing loot but she is secretly an Exorcist Nun, But even here there are twists and turns as this is a house built on deceit. Madame Pinochet is truly Lady Macbeth, jealous that she was never given the rewards bestowed by Pinochet on his old army comrade/butler.

Very much a dark/satire comedy, when the Exorcist/Accountant questions Pinochet, his wife and children about their dodgy business dealings the dialogue is based in actual court findings. The horror elements and vampire lore are quire effective. Filmed in monochrome the utter darkness of Pinochet's life (and that of his brood) is well portrayed. Donning his his General's uniform and cape he flies to cities to dine on victims. This vampire prefers to rip out hearts to get the best sustenance. As a modern touch, liquidisers are now used to get the most out of these vital organs. We learn how this vampire sucked the lifeblood from a nation but he portrays himself as a victim who was bribed by crooked businessmen.. There are laughs but there is a danger that they will choke in your throat. Perhaps the real humour is in the identity of the narrator, herself a vampire who flies south in an attempt to save Pinochet from himself. A tad didactic at times which might put some people off nevertheless this is an engrossing tale of evil. Directed by Pablo Larraín, written by Larraín and Guillermo Calderón. On Netflix. 8.5/10.