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“The Count,” on Netflix: Pinochet’s return as a vampire

Before he sacrificed the cults of Jackie Kennedy and Diana Spencer, Pablo Larraín fed his cinema with a national nightmare. Of Tony Manero (2008) to No (2012), via Santiago 73, posthumous (2010), the Chilean filmmaker unravels the mechanisms and aftermath of the bloody coup that overthrew democratically elected President Salvador Allende on September 11, 1973.

The shadow of Augusto Pinochet hung over each of these films. No matter how much we search in the credits of this trilogy, we cannot find the name of the thick tyrant who remained behind the screen. Quantity, which is coming straight to Netflix after competing for the Golden Lion in Venice, gives Pinochet the first role he’s given for terror in his own country. Of course, the Catholic dictator probably never dreamed of vampirism. It is with this job that he will have to be content as an infamous insult, lavishly wrapped in delicate expressionist black-and-white—if we want to go beyond the oxymoron—a birthday present intended to revive the memory of a long-standing (1973-1990) shift in the power of this man. without.

The enterprise is meritorious, carried out with the audacity and virtuosity that befits a filmmaker who is a master of his craft. This flying Pinochet (Jaime Waddell), who hovers over Santiago in 2006, years after his death was officially announced, to devour the victims’ hearts after placing them in a blender, however, is neither scary nor terrifying. Pablo Larraín preferred to drown him in ridicule, to risk remaining a prisoner of the metaphor of a tyrant who bleeds the people for whom he is theoretically responsible.

Memory Labyrinth

The screenplay by Pablo Laren and Guillermo Calderon tells the story of the childhood of a French orphan in the 18th century.e century, who finds himself a vampire during the revolution, crosses centuries and oceans to reach the head of the great Chilean army. Elegantly and solemnly staged, this story (pictured by the great cinematographer Ed Lachman) is told in English, with an irritating voice that we more or less quickly learn is coming from the throat of Augusto’s best friend, Margaret.

After being forced to leave power, the immortal dictator takes refuge with a fearsome minion (Alfredo Castro, Laraine’s loyal companion who seems to be amused by her character’s contempt) in an abandoned farm deep in the fog. fjord. There an old man who cannot die gets a family, wife and children. The first wants the vampire to invite him to eternity, the second is in a hurry to see his father die in order to get the kleptocrat’s millions.

Source: Le Monde



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