"No" is not a documentary. You might have seen a preview or a poster and thought you might go see this documentary following the plebiscite in Chile in 1988, but that is just what Pablo Larraín wanted you to think. Filmed through a grainy, old school camera from the era of narrative, Larraín transports you into the heart of the terror present in Chile at the time. The most captivating element was his use of actual footage from 1988, editing it in so smoothly, it was hardly noticeable.
Pablo Larraín has done two films based under Pinochet's reign before "No". Coming from a right winged family in favor of Pinochet, Pablo broke away from his heritage and felt that, under such an oppressive man, artists and writers were restricted of their expressivity. This constriction is felt in the film as the opposition fights a battle that seems already lost in this political, personal, historical drama.
The story unfolds around a young advertising guru, René Saavedra, played by Gael Garcia Bernal, who is hired by the NO campaign to advertise the end of Gen. Augusto Pinochet's dictatorship. Posed against his own boss in the YES campaign, René must figure out a way to sell the end of years of terror to a country who might not be ready to handle being on its own. Through 15 minutes of air time a day for the month leading up to the vote, René and his ragtag group of media experts must outthink the regime of Pinochet and their power.
René and the NO campaigners decide to stray from the previous style of ads, shedding light on the murders and tortures having taken place under Pinochet, and focus on Chile's future: hopeful and bright. Saavedra lacks the passion behind the NO campaign; he feels as if he is just selling another product to consumers. Although he wants to succeed, his passion doesn't click until he is personal life comes into question. He wants the best for his young son and begins to realize that what he is doing can change the future of his son's life and his country's.
The subtle camera movements in a documentary style really capture the serious tones of the time. Without any flashy camera work or overtly cliche symbolism, it's as if the film was all filmed during the actual events in 1988. With the help primary footage, the opposition ads and communist style ads release a raw power to the movie. Real cameos of Christopher Reeves, Jane Fonda, and Richard Dreyfus offer the American perspective on the situation, only to reel in your emotions and decision all the more. The old homemade camera is strenuous on the eyes at first, as you yearn for the quality to pick up, but as the story progresses, Larraíns decision makes complete sense.
Bernal brings a confidence to the table that borderlines cockiness. This young hot shot media wizard must find his own connection in order to win this pivotal vote in Chile's history. Bernal is a hipster in the 1980s, trying to play things cool with his roughly cut beard and jean jacket. But his ability to move from a dry, almost empty executive, to a part of the team willing with everything he's got is noteworthy.
For Chileans, this film is extremely important, both for the young and the old. Those who were alive and experienced the harsh times of Pinochet's dictatorship reflect on the triumph of the NO campaign, but also on the realities that were at hand in those 15 years. For the younger generation, it is an educational film that shows the actualities their parents and elders went through, but doing so in a light hearted way from a the advertising perspective.
The film "No" is worth the view, in my opinion. A serious look at the plebiscite of Chile in 1988 with a comedic undertone, partnered with the documentary styled cinematography captures the essence of the tension of the time.
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