Jaime Vadell

Gloria Münchmeyer

Alfredo Castro

Paula Luchsinger

Stella Gonet

Catalina Guerra

Amparo Noguera

Antonia Zegers

Marcial Tagle

Diego Muñoz

Clemente Rodríguez

Rosario Zamora

Sofia Maluk

Marcelo Alonso

Daniel Contesse

Daniela Seguel

Jaime McManus

Alessandra Guerzoni

Mariela Mignot

Josefina González

Fanny Moreno

Aldo Parodi

Claudio Barbas

Francisca Walker

Mateo Iribarren

Patricia Rivadeneira

Eyal Meyer

Lucrecia Dalma

Diego Martínez Ruíz

Josefina Dagorret

Norma Norma Ortiz

Víctor Montero

Dara Palacios

Bernardita Nassar

Dindi Jane

Valentina Barrios

Alejandro Wise

Ana Gaubert

Jonathan Jota Osorio

Sergio Karmy

Patricio Acuña

Felipe Astorga

Eduardo De La Cerda

Carlos Pérez Ramos

Ivo Moraga

Oscar Ríos Quiroz

Juan Carlos Maldonado

Lukas Keclik

Juan Navarrete Zamudio

Mauricio López

Jindřich Červenka

Carola Manzo

Romina Venegas

Sebastian Fuentes

Juan Cristóbal Hurtado

Chris Whiteside

Sebastian Hasbun

Juan Olivares

Majo Tabares

Christopher Yañez

Soledad Vargas

Antonio Saez

Diego Araya Corvalán

Daniel Miranda Bianchini

Yiyo Stambuk

Anya Vinnik

Natalia Blajeroff

Oscar Godoy

Robert Rapos

Gabriel Ariza

Andrés Bernal Bonilla

Juan de Dios Larraín

Pablo Larraín

Rocío Jadue

Cristian Donoso

Tatiana Maulen

Felipe Guzmán

Ivana Gahona

Alejandro Álvarez

Antonieta Corvalán

Emilio Jimeno

Pablo Valenzuela

Daniel Rojas

María Teresa Camus

Sergio Armstrong

Nicolás 'Pape' Bórquez

Vicente Vergara

Marcelo Valencia

Nicolas Roses

Carlos Diaz

Rodrigo Valencia

Tomás Fuenzalida

Daniela Fernández

Nicolás Álvarez

Diego González

Carolina Poblete

Jonathan Maldonado

Ariel Marinkovic

Andrés Villagrán

Víctor Rojas

Daniel Pavez

Mauricio Rudolphy

Esteban Guerra

Sebastián Monreal

José Mardones

Samuel Nuñez

Juan Carlos 'JC' Jerez

Enrique Molina

Andrés Pozo

Manfred Manzel

Rodrigo Ramírez

Cristopher Iriarte

Esteban 'Rabbit' Conejeros

Rodrigo Cariz

Silvio Goffreri

Cristobal Bustamante

Felipe Peña

Leandro Chacana

Ian Lemus

Eduardo Prieto

Eugenio Arteaga

Catalina Vargas

Vanessa Tello

Guillermo Calderón

Edward Lachman

Christopher Guzman

Muriel Parra

Eduardo Paxeco

Sofía Subercaseaux

Fantasy

Comedy

Horror

El Conde

Fabula

Chile

Manuel São Bento

FULL SPOILER-FREE REVIEW @ https://fandomwire.com/el-conde-venice-film-festival-review-a-vampirically-efficient-satire/

"El Conde delivers an effective, brutally gory sociopolitical satire packed with sarcastic commentary, offering an amusing narrative that compares the eternity of vampires with the impunity of the Chilean dictator's crimes.

Technically wonderful, employing a stunning black-and-white canvas that will leave any cinephile delighted, as well as excellent contributions from cinematography, score, and editing for a captivating immersive experience.

Underdeveloped characters and repetitive messages remove some of the biggest impact the film could have had."

Rating: B+

Discussed on the 10th September 2023 Awesome Friday Podcast!  While we both love the visuals and the performances, we did not vibe with the movie.  And it's definitely a vibes movie. 

Listen to the show here:

- Home: https://awesomefriday.ca/2023/09/podcast-the-meg-2-the-trench-el-conde/
- Apple: https://podcasts.apple.com/ca/podcast/awesome-friday/id480100293?i=1000627430169
- Spotify: https://open.spotify.com/episode/3G2sJ5Erqyj01tUI02bD67?si=RDX8scb_SC2ugvPBzopRVg
- YouTube: https://www.youtube.com/watch?v=DqkNj-bTxvM

Are politicians fundamentally just vampires, in disguise?

El Conde crafts a clever tale that weaves the life of the vampire, with that of the politician. 

It draws on two, well known, right wing, political figures, from Chilean and UK politics. The notorious Chilean dictator, Augusto Pinochet and the iron lady of UK politics, Margaret Thatcher. 

This is a surreal, highly watchable experience, that's at times brutal, and visually, compellingly beautiful.

Its not perfect. Its starts and ends convincingly, cleverly drawing together the threads of the story. What happens in between, can come across, as a little too diffuse and disordered, at times, to really represent anything contextually cohesive.

In summary, this is a highly original, stimulating piece of film noir, that stays with you, long after the closing credits. Its ambition can and does outshine it achievements. That said, what it does achieve, is well worth your time.

Brent Marchant

Fusing cinematic genres can be tricky, especially if the mix doesn’t mesh. But the latest from writer-director Pablo Larraín successfully pulls off a brilliantly original blend and does so just about perfectly. This metaphorical account of the life of former Chilean dictator Augusto Pinochet (1915-2006) (Jaime Vadell) portrays the onetime-strongman as a vampire a la Dracula (hence the title and the character’s nickname, “the Count”), shot in the style of F.W. Murnau’s black-and-white silent film classic, “Nosferatu” (1922). The story charts the immortal’s life from his birth as orphaned royalist Claude Pinoche in late 18th Century France through the many military campaigns in which he fought to put down radical rebellions before finally rising to power as the right-wing dictator of Chile through the 1973 coup d’état of left-wing President Salvador Allende. But much of the narrative actually follows Pinochet in the years after he was himself out of office, living a life in seclusion after faking his death. It’s a time when he is being stalked by various parties seeking to get their hands on his illegally amassed fortune, including his wife (Gloria Münchmeyer), his longtime butler (Alfredo Castro), a nun/exorcist posing as an accountant auditing his assets (Paula Luchsinger) and his five adult children. And, ironically, as all of this is transpiring, Pinochet himself is in the throes of ennui, trying to make up his mind about whether or not he wants to go on living. Many story threads emerge and become intertwined, satirically invoking wry observations about despotism, greed, power, lust, immortality and religion. On top of all this, there’s an articulate, faceless narrator with a pronounced British accent who tells the tale and makes an unexpected appearance late in the film, taking things in an entirely new direction with deliciously twisted plot developments. Add to all this the film’s stunningly gorgeous monochrome cinematography, superb production design, fine performances and positively sparkling screenplay, along with just enough restrained campiness in the dialogue and special effects to make viewers giggle with delight without becoming silly, and you’ve got one finely crafted production, perfectly integrated and nicely balanced. Admittedly, the pacing drags a smidge late in the second act, but that’s easily dismissed considering how well everything else works together. Also, the film is quite graphic in a number of sequences, so squeamish and sensitive viewers would be wise to avoid this one. But, if you’re not faint of heart and have an appetite for the macabre, give this Netflix exclusive a look. Director Pablo Larraín’s pictures keep getting better and better with every outing, and this is the latest in a string of releases that have firmly established him as one of the finest auteurs in the business these days. Tune in and see for yourself.

The real-world history of Pinochet et al should be common knowledge. Add the vampire aspect in, and you've got a starting point for an interesting story.

There was potential in the concept, but the result here doesn't go beyond a comedy show skit - with two hours runtime.

The actors are given little to work with, so despite competence and good efforts, half the characters are and stay clichéd.
What saves it from being a complete waste of time is the development of Vampire relationships; especially the modernised Renfield is well done.

But what's with the decrepit barracks which turn out to be some kind of a farm? A set of one-story buildings having secret passages and dungeons doesn't make sense; if there was a specific story or cultural idea behind this, it was neither shown nor told.

There's award nominations for the visuals; they must've seen a different movie. What I've seen is on a level many YT content creators achieve or surpass. Hiding the cheapness of visual effects under a brownish-dirt-grey tone for all of the movie is an trick that seldom works.

Maybe it's cherished as a confirmation film, a thigh-slapping, "that's what I say"? That would be clumsy.


Verdict: Can't recommend. Wish I hadn't wasted about two hours of lifetime on watching it.

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The Cinematography of El Conde, with DP Edward Lachman | The #DolbyInstitute Podcast

Official Trailer [Subtitled]