"No" is not a huge production dedicated to national narratives. In the two hours of half documentary and half comedy, Gael García Bernal used him to be compatible with secular and sublime performances, providing us with a more realistic and skin-conscious way of imagining history. In the film, Gael García Bernal will not show the exhaustion of Jiang Lang in front of the shaking camera from time to time; or in the film-style set of the 80s, put away perverse personal heroism, in opposition rallies. Above, in the face of gas and water guns, I subconsciously worry about whether my car will be damaged. He is not an awe-inspiring hero who does not throw himself into the torrent of ecstasy; nor is he a coward who has no political appeals, who only hides in the protective film of business. In the face of national changes, the contradictory and ambiguous attitude of the advertiser Rene undoubtedly conveyed the director's complicated understanding of democracy. It is like the "seven-color rainbow", the campaign logo of the "NO" camp, with a touch of "ambiguity" in the freshness and warmth.
TV propaganda that equates "politics" with "commodities" is a metaphor full of irony. I have seen too many pseudo-democracies piled up with money and the ubiquitous sugar-coated cannonballs. Pablo Larrain’s de-heroism very tenderly reveals the whole process of packaging politics with the media, and this ideological reshaping method is spread all over the world. All are accurate. Therefore, on the screen, voters saw the projection of their political ideas, whether it was "YES" or "NO", there were always people shouting out loud. After all, in 1988, when the Pinochet military government fell, advertising and propaganda were decidedly vigorous, but it was not the only decisive factor. Seeing Gael García Bernal calmly fading out of the camera, it was a cold sweat. Fortunately, this story did not make Hollywood come to the fore. Otherwise, what an old-fashioned reversal should be staged.
