 A film in three minutes? No. Okay people, listen up. We've got 15 minutes of television screen time for the next 27 days to get this new brief over the line. The client? The people of Chile. The campaign? To convince an entire nation to say no to eight more years of rule under Augusto Pinochet. Easy, right? We're going to need a cool logo, a catchy jingle, mimes, can't forget the mimes. Oh, and an inspiring message of hope to pull this off. Just like what happens in Pablo Lorraine's 2012 historical drama? No. Set on the eve of Chile's 1988 plebiscite to decide whether the strongman Pinochet government was to be extended by a further eight years of power, the story follows René Saavedro, played by Gael Garcia Bernal, an advertising executive who is approached by the leaders of the suppressed political opposition to spearhead the no campaign. Faced with scant resources and authoritarian bullying tactics from the government, René is at first hesitant to join. However, thanks to his astute marketing instincts which bring him into conflict with some of the political victims of Pinochet's regime, the no team is able to spread a message of joy and optimism about the country's future, threatening to destabilise the regime itself and running the risk of the vote being discarded entirely. No is the third film in Lorraine's trilogy focusing on Chile's Pinochet era, with the first two entries, Tony Manero and Post Mortem, delving into the birth of the dictatorship and its most violent moment, whereas no dramatises the period of the dictatorship's end. The character of René is a composite of two real-life marketing executives, José Manuel Salcedo and Orgenio Garcia, who were instrumental in the campaign's success and have cameos in the film, as do other actors, presenters and activists from the period, who are cleverly spliced into existing archive newsreels and anti-Pinochet material, giving the film a heightened sense of realism. This authenticity is also aided massively by the decision to construct the entire film's cinematography on rebuilt 1983 umatic video cameras, perfectly blurring the line between what is real and what belongs to the world of the story by seamlessly blending the film footage with already existing news broadcasts of the competing campaigns, giving the film's presentation of 1988's Chile a documentary style finish that heightens the believability of the drama. While no-nose focus on a small ragtag band of marketing execs fails to shine a light on the tireless work of thousands of grassroots campaign activists had in delivering the no-vote, you'll be hard-pressed not to feel inspired by the film's life-affirming dramatisation of recent historical events. A story with hope at its centre that may not be the entire history of how a nation dared to dream differently and move on from dictatorship, but reminds us how marketing, despite its superficial shortcomings, can still be used to achieve good in the world when you have a happy message and the bravery to stand up to authoritarian bullies and say no.