Though Rene believes in the cause, he also views it as a marketing challenge, and there is a bit of a “Mad Men” vibe to his wrangling with clients, colleagues and rivals.
Rene’s job is to sell rejection as an upbeat choice, to acknowledge the brutality of Pinochet’s regime while focusing on the happy future without him. Rene is enlisted by a group of opposition political parties to produce television spots supporting a “no” vote on a referendum extending the dictatorship of Augusto Pinochet. At first, it’s easy to underestimate both Rene and García Bernal, to mistake their casual, unassuming naturalness for a lack of gravitas or craft. He’s cool but not intimidatingly so good-looking in the same measure funny but not to the point of obnoxiousness self-confident but not a jerk. SCOTT In Pablo Larraín’s “No” (2013), García Bernal plays Rene Saavedra, a hotshot young advertising creative in 1980s Chile, with his usual charm. As the story’s raucousness quiets, Julio’s adolescent machismo fades, replaced by pensiveness that the actor makes so physical, you see the character retreating inside himself.īy 2004, García Bernal had appeared in Walter Salles’s “The Motorcycle Diaries” as the young Che Guevara and played a duplicitous chameleon in Pedro Almodóvar’s “Bad Education.” Almodóvar put the actor in heels to play a noirish femme fatale, a role that García Bernal apparently didn’t much like doing so but that deepened his persona with a smear of lipstick and a psychological coldness that created new shocks.Ī. Along with his best friend (played by Diego Luna), Julio tumbles through life heedlessly until he doesn’t. García Bernal plays Julio, a working-class teenager on a journey of discovery (of the self, of others). This contrast wasn’t especially obvious in “Amores Perros” (2001), but it helps enrich the warmer “Y Tu Mamá También” (2002), a soulful coming-of-age story that opens with a whoop and ends on a sigh. He was gifted, held the screen and had a face you kept looking at, partly because - with his doe eyes and lantern jaw - it seamlessly fused ideals of feminine and masculine beauty.
Their directors were soon racing toward international renown and so was Gael García Bernal, their shared star.
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MANOHLA DARGIS When Alejandro González Iñárritu’s thriller “Amores Perros” and Alfonso Cuarón’s road movie “Y Tu Mamá También” were released in American art houses a year apart, the shocks were seismic.
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