No - I giorni dell'arcobaleno

What a captivating film this is. Gael Garcia Bernal is good as usual, an actor who just keeps getting better and better, in this movie that shows the campaign that ousted Pinochet from office from the p.o.v. of the ad guys who tailored each side's messages.

Good PR work that frames the debate and sets the narrative for the campaign wins political campaigns.

The movie is thoughtful, funny, absorbing. Quality all around. You don't need to know anything about Chile to get swept up by it, and if there are details you want to know, you can go read about it afterwards.

I especially liked that it looked like a documentary video and a time- capsule from that era. It seamlessly mixes stock footage with filmed stuff to give it a dated look.

See it.

In the last few days, I went to the cinema to see NO, a movie about the 88s plebiscite in Chile, and it was a very good experience.

The main is story it's of the man who was behind the NO campaign, René Saveedra; and boy, Gael García Bernal gives us a very serious but very well done character.

Also, the camera and the sets of the film give us the feeling that this is an 80s movie. That was very interesting.

Pablo Larraín directed very well this movie, because it gives the sensation that its real (well, of course it was real, but it was like in the real life they hided a camera on the places. It was just very realistic). Also, the script, made by Pedro Peirano, it's very real and well written.

Well, in brief words, NO it's a movie that any lover of independent films have to see.

8 stars out of 10

This is a Betamax quality movie. If you like history-related movies, this one is just for you! This movie tells history of Chile in Pinochet era from a "creative" perspective. It's always a pleasure to watch Gael Garcia Bernal who played a hero Ernesto Guevara de la Serna in Motorcyle Diaries, in this movie plays another hero: a genius advertiser who is the mastermind behind the NO campaign during Chilean political reform referendum in 1989. Horrible events such as tortures, imprisonment, street riots occurred during the Pinochet era was told, but never in a disturbing way to the audience. Whoever watches the movie may find lot of similarities in his/her countries past or current or future situation, which made the movie more attractive for me. Long after I have left the movie, I continue thinking about it; therefore, this movie is definitely going to be in my collection.

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

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.

cinemainterruptus.wordpress.com