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Critics reviews

NO

Pablo Larraín Chile, 2012
TIFF.net
This concern with the manipulation of political imagery culminates in the final film of the trilogy, No, a brilliantly incisive (and mostly true) satire... As in his previous films, politics becomes inseparable from performance, but No's smeared imagery also signals the director's distaste for Saavedra's neoliberal ideology and shallow manipulations.
December 13, 2016
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No is among the sharpest political films in years, sharp enough to realise that democracy is most likely to emerge not from conflict but from comfortable apathy. It's surely no accident that our own age... is also an age of middle-class people who basically want to stay home and play with their iPads. Too bad the film isn't as sharp structurally as it is politically. Larrain gets sloppy, and muddles the message (I assume he didn't have a choice, since the film is based on fact)...
December 10, 2013
There's still evidence of the director's darker notions about the power of artifice and the marketing of politics rumbling below No's narrative, but the film is less angry than melancholic. It's a note of restraint, a subtle shift in sensibilities for the director, and it echoes throughout Larraín's latest and solidifies his stature as an artist of distinct moral and historical outrage.
July 16, 2013
Larrain has created a seamless spectacle that washes over the viewer, making it extremely difficult to separate the real from the staged, or to actively analyze, shot for shot, what we're seeing. And so No is both a crowd-pleasing, satisfying narrative entertainment and a highly sophisticated conceptual object -- perhaps the ultimate Situationist movie.
May 23, 2013
Bernal, that dependably terrific Mexican movie star, plays his character as an enigma—a shrewd huckster whose fighting spirit seems to stem less from political motives than the thrill of a real challenge. Stirring as a celebration of voter empowerment, No may also inspire pangs of wistful nostalgia. When was the last time snake-oil salesmanship was put to such noble use?
March 7, 2013
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.
March 1, 2013
The movie's suspenseful narrative is pretty engrossing. Even if you know little of Chile's history of that time, the question of just how Pinochet and his puppets and puppet masters are stage-managing this supposedly transparent process to meet their expectations remains an open question throughout, and the threats and menaces René has to face deepen in an effective conventional suspense-movie fashion.
February 14, 2013
A troubling, exhilarating and ingeniously realized film that's part stirring political drama and part devilish media satire...
February 14, 2013
The New York Times
Rene's seeming apathy is a master stroke because it allows Mr. Larraín (who was born 1976) to set his protagonist outside the usual ideological battle lines and invest the story with contemporary resonance.
February 14, 2013
The film gradually takes on an equivalence to the ad campaigns documented therein, all of them essentially doctoring history to suit their purposes—something that's also underscored by Larrain's political-thriller plotting, which often feels deliberately schematic.
February 13, 2013
What stays with you from No—certainly more than the scenes of Saavedra's home life, which don't register as more than the obligatory establishment of "something to fight for" motivation—is the film's sense of living in history that's mediated even as it's made.
February 13, 2013
Gael García Bernal has been on fire lately (recently in The Loneliest Planet), as his boyish looks bloom into immaturity. The work he does in No is cryptic and arresting: Either René is a blinking naif or shrewder than everyone onscreen. His detachment is his strength.
February 12, 2013