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No

In 1988, Chilean military dictator Augusto Pinochet, due to international pressure, is forced to call a plebiscite on his presidency. The country will vote ‘Yes’ or ‘No’ to Pinochet extending his rule for another eight years. Opposition leaders for the ‘No’ vote persuade a brash young advertising executive, Rene Saavedra, to spearhead their campaign. Against all odds, with scant resources and while under scrutiny by the despot’s minions, Saavedra and his team devise an audacious plan to win the election and set Chile free.
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WHAT ARE CRITICS SAYING?

75

Slant Magazine by

A singular biopic and a snapshot of a society renewed, No unaffectedly celebrates faith in democracy, and, surprisingly, truth in advertising.
80

The Hollywood Reporter by David Rooney

Anchored by an admirably measured performance from Gael Garcia Bernal as the maverick advertising ace who spearheaded the winning campaign, the quietly impassioned film seems a natural for intelligent arthouse audiences.
100

Time Out by Joshua Rothkopf

The essential thrust here is both knowing and undeniable: No is pitched at the pivot point when the image makers were brazen enough to push ideology to the side. Considering how high the stakes were, it’s amazing they almost didn’t get the gig.
70

Variety by Leslie Felperin

After "Tony Manero" and "Post Mortem," his devastating portraits of how the Pinochet regime psychologically brutalized the people of Chile from 1973-90, Chilean helmer Pablo Larrain satisfyingly completes the trilogy with an affirmative victory for democracy in No.
100

Entertainment Weekly by Lisa Schwarzbaum

The movie — the third in a trilogy of powerful political dramas from Larraín, including "Tony Manero" and "Post Mortem" — uses period detail, archival footage, and '80s-era technology to create an excellently authentic, bleached, crummy-looking document of a great democratic accomplishment.
90

The New York Times by Manohla Dargis

Marshall McLuhan called advertising the greatest art form of the 20th century. In No, Pablo Larraín’s sly, smart, fictionalized tale about the art of the sell during a fraught period in Chilean history, advertising isn’t only an art; it’s also a way of life.
80

Total Film by Neil Smith

“We have to find a product that’s appealing to people!” says Garcia Bernal at one point. And that’s just what Larraín’s created with this Latin spin on "Mad Men."
70

Village Voice by Nick Pinkerton

No uses the actual commercial material the opposition created for its anti-Pinochet campaign and—re-creating the behind-the-scenes filming—deftly appropriates mediated history for fiction.

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