The sphere of politics has been radically displaced, but what of history? What of the images of the real? In the film, everything that we call history is brought back to the fore. NO, obsessed as it is with a fetishistic image of the past, goes beyond nostalgia. Larraín shot his movie on obsolete U-matic cameras, the same equipment that was commonly used by video-makers in the ‘80s, and therefore NO has the raw and gritty quality that is tied to Chileans’ audiovisual memory of the dictatorship.
José Miguel Palacios
March 01, 2013