Darkly satirical bio-pic done as a horror film
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.
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.
- gortx
- 20 de set. de 2023