{"id":18648,"date":"2013-01-31T15:39:49","date_gmt":"2013-01-31T22:39:49","guid":{"rendered":"http:\/\/eltecolote.org\/content\/?p=18648"},"modified":"2013-01-31T16:06:31","modified_gmt":"2013-01-31T23:06:31","slug":"riveting-portrayal-of-chile%e2%80%99s-1988-campaign-to-oust-dictator","status":"publish","type":"post","link":"https:\/\/eltecolote.org\/content\/en\/riveting-portrayal-of-chile%e2%80%99s-1988-campaign-to-oust-dictator\/","title":{"rendered":"Riveting portrayal of Chile\u2019s 1988 campaign to oust dictator"},"content":{"rendered":"
\"\"<\/a>
Gael Garc\u00eda Bernal en un fotograma de la pel\u00edcula No, dirigida por Pablo Larra\u00edn. Gael Garc\u00eda Bernal in a still from the film \u201cNo\u201d, directed by Pablo Larrain. Photo Courtesy Sony Pictures Classics<\/figcaption><\/figure>\n

Film director Pablo Larra\u00edn closes in on a series of three films set during Augusto Pinochet\u2019s dictatorship (1973-1990) with his film \u201cNo,\u201d the first ever Chilean film to receive an Oscar nomination for \u201cBest Foreign Film.\u201d<\/p>\n

This riveting film is set during the plebiscite of 1988, which allowed Chileans to vote \u201cS\u00ed\u201d or \u201cNo\u201d for the continuation of military rule as a result the international pressure on the regime.<\/p>\n

The campaign consisted of 15-minute slots on television for each side for almost a month.<\/p>\n

Characteristic of Larra\u00edn\u2019s work, the lead role is a laconic and ambiguous character living a polarized political time.<\/p>\n

This ambiguous nature of the main character, along with the fact that Larrain chose Mexican star Gael Garc\u00eda Bernal for the role, contributes in depriving the audience of a comprehensive political context.<\/p>\n

Larra\u00edn himself descends from a family of politicians and prefers to keep his personal life out of the press. It\u2019s questionable whether Larra\u00edn, like Ren\u00e9 Saavedra (Garc\u00eda Bernal), hides behind his media to cover up his background.<\/p>\n

Ren\u00e9 was exiled with his family to Mexico but returned to Chile to pursue a career in advertising. He leeches onto both sides, when he agrees to run the \u201cNo\u201d campaign but receives a paycheck and protection from far-right businessmen benefiting from the dictatorship.<\/p>\n

The film is not made for experts in Chilean politics, as it is captivating for everyone, however neophytes should not expect a history lesson.<\/p>\n

\u201cThe film doesn\u2019t pretend to serve for teaching high school nor is it a historical account. There isn\u2019t a historical truth in this film,\u201d said Larra\u00edn.<\/p>\n

Like the protagonist of Larra\u00edn\u2019s previous films, Ren\u00e9 tries to redeem his sold-out heart through his obsessions, his ex-wife Veronica Caravajal (Antonia Zegers) and their son Simon (Pascal Montero). His morality gradually becomes more ambiguous as the fight against the dictatorship proceeds.<\/p>\n

The first film of the trilogy, \u201cTony Manero\u201d (2008), brought Larrain to the forefront of the festival circuit. It is a haunting portrait of a serial killer absorbed in becoming John Travolta\u2019s character in \u201cSaturday Night Fever\u201d\u2014an ironic backdrop during the middle of the dictatorship.<\/p>\n

The second film, \u201cPost-Mortem\u201d (2010), follows a stoic mortician, who undeniably and calmly sees the aftermath of the bloody first days of the coup d\u2019etat that took elected President Salvador Allende from power in 1973.<\/p>\n

In addition to casting a star like Garc\u00eda Bernal, \u201cNo\u201d stands out in the trilogy with the use of a U-matic 3:4 camera. The low-definition of VHS aesthetics draws the audience back to the 1980s. As the camera seamlessly transitions from scenes of campaign commercials to Ren\u00e9 bailing his leftist ex-wife out of jail, the footage stimulates a cloudy remembrance of that era.<\/p>\n

Not only appealing in its cinematography, Larra\u00edn\u2019s portrait of the plebiscite in \u201cNo\u201d\u2014both campaigns narrowly edging each other out\u2014is both engaging and poetic. As Larra\u00edn explained, \u201cIt\u2019s the curiosity about how a campaign for \u2018No\u2019 was done. It seems extraordinary to me, many people in Chile think the same.\u201d<\/p>\n

\u201cNo\u201d will play starting March 1 at Landmark Theaters in San Francisco, and March 8 at Shattuck Cinemas in Berkeley.<\/p>\n

To read El Tecolote’s exclusive interview with Pablo Lara\u00edn follow the link: https:\/\/eltecolote.org\/content\/2013\/01\/interview-with-filmmaker-pablo-larrain\/<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Film director Pablo Larra\u00edn closes in on a series of three films set during Augusto Pinochet\u2019s dictatorship (1973-1990) with his film \u201cNo,\u201d the first ever Chilean film to receive an Oscar nomination for \u201cBest Foreign Film.\u201d This riveting film is set during the plebiscite of 1988, which allowed Chileans to vote \u201cS\u00ed\u201d or \u201cNo\u201d for […]<\/p>\n","protected":false},"author":35,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"newspack_popups_has_disabled_popups":false,"newspack_featured_image_position":"","newspack_post_subtitle":"","newspack_article_summary_title":"Overview:","newspack_article_summary":"","newspack_hide_updated_date":false,"newspack_show_updated_date":false,"footnotes":""},"categories":[7],"tags":[56,2018,2019,2020,2017,2022,2021],"coauthors":[],"class_list":["post-18648","post","type-post","status-publish","format-standard","hentry","category-news","tag-chile","tag-film-review","tag-gael-garcia-bernal","tag-no","tag-pablo-larrain","tag-post-mortem","tag-tony-manero","entry"],"yoast_head":"\nRiveting portrayal of Chile\u2019s 1988 campaign to oust dictator - 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