No, is a chilean drama film written and directed by Pablo Larrain. No stars Gael García Bernal and is based on an unreleased play by Antonio Skármeta that is tied to the true events of Chile’s 1988 referendum. The story follows a man named, Rene who is a well know marketing agent working in Chile during the 1980’s. When the country of Chile is asked to vote “yes” or “no” on the referendum, Rene is approached by the “no” side and is asked to lead their political advertising campaign. Driven by this marketing challenge and his political stance against the dictating leader, Pinochet, he takes the offer. Through this extensive campaign, Rene is in a constant battle for doing what is best for not only himself but for what is best for his country.
The telling of this type of biographical/historical story is not new for Chilean cinema. Historical drama being a favourite genre within the industry, No is a prime example Chile’s cinematic narrative identity. It presents the story of a defining moment in Chilean history and tells it through the eye’s of what some could consider an every man. Exploding with Chilean nationalism, it is not surprising why it has gained high success in the country. It is the other narrative aspects in film, like editing and cinematography that have lifted to reach world wide recognition.
Synopsis of Scene. (00:26:50-00:41:23)
René and the “No” committee meet at a discreet beach house location to discuss their plan of approach for the advertising campaign. A series of precise cuts that coincide with dialogue guides the audience through a series of moments that show the flow and development of ideas that will eventually lead up to the first pitch video for the “No” campaign advertisements.
Analysis
The sequence begins with an establishing shot of the undisclosed beach house location. The committee gather and are joined by a man on the “inside” in order to discuss the ideas for a new approach for the “No” campaign. The shots used vary from medium to close-ups and focus around the main character, René. This demonstrates how the conversation and flow of ideas are formed around and by him. Aspects of classical style editing being utilized in this moment aid the audience in the quick flowing and sporadic conversation of the team. For example, eye-line match as well as shot/reverse shots tell the audience who is talking to whom in this group discussion. Also, cutting at the right time allows the editor to present a narrative tool to look into the characters’ mind and thought process. While a member speaks to the maid into why she is going to vote “yes”, a cutaway of Rene is used to show his new found understanding how he should form his campaign.
As the audience is taken through the development of the conversation for advertising ideas, the conversation carries on through different locations around the beach house. Through editing, the audience is able to vividly see how the discussion develops through time without actual making it feel long. By cutting rhythmically with the dialogue to the next scene, the editor is able to manipulate narrative time without actually diminishing the effort of the characters. For instance, René raises a concern about the large group of undecided voters in the country. Cuts are made to different locations within the property but the conversation remains the same. Although the editor cuts to different locations, it presents the audience with sense of progression and effort that the team is making in order to have productive meeting. This is a great use of continuity editing and was important in order to maintain fluidity and pacing. It also can be seen as a form of parallel editing that, like stated before, shows the development of the ideas without any confusion. It Also implies a longer discussion and/or repetition of action, if he is speaking with new characters in each scene. Becomes a practiced speech.
One of the film’s strongest narrative tool is it’s visual aesthetic. When viewing the film, one can easily pick up on the visual quality. The filmmakers decided to go with a video style look by using a Ikegami 1983 video camera in oder to contribute to the story and decade that the film is based on. This choice of style creates an unique feel that attempts to micic and relate to the visuals of the tv advertisements the protagonist is trying to create. One can even go as far as to say it mimics the feel of a documentary and contributes to film’s biopic genre. Of course with use of “doc style” filming comes the use of hand held shots which is a key convention chilean film making.
No is a well crafted film telling the story of very important part of Chile’s history. The editors ability of knowing when to cut in order to create seamless pace and fluidity, and aid in visual aspect is crucial in telling such an important story. This is a film about the pride and nationalism created within Chile and with the help of exemplary editing, No conveys and cements these emotions not only to chileans, but audiences worldwide.