Larraín's latest film gives a surprising uplift and kind of closure to his Pinochet trilogy, echoing and insightfully revising the actual unexpected turn that led to the dictator's sudden removal from power. A backstage version of the 1988 plebiscite forced upon Pinochet by international pressures, No focuses upon the clever admen behind the competing television campaigns, with Gael García Bernal as the young and seemingly apolitical upstart hired, with unwitting savvy, by the opposition to sloganize the long simmering dissent of a repressed nation. Larraín channels own early background directing television commercials to capture the nicotine fueled idea sessions and clipped ruthlessness of the advertising world, while also suggesting a deeper paradigm shift at work in the realm of political image making. As meta-cinematic commentary, No goes further with its brilliant use of obsolete late-Eighties videography rendering the film's brisk narrative a seamless simulacra of the slick advertising and of history itself in the form of the actual television footage incorporated into the film.