Chilean dictator Augusto Pinochet has long been a looming presence in Pablo Larraín’s filmography. However, in his latest feature, “El Conde” (The Count), Larraín puts Pinochet front and center in a scathing Gothic satire. The film reimagines Pinochet as a 250-year-old vampire who faked his own death and now resides in a dilapidated estate in the Patagonian countryside. As the fascist icon’s health deteriorates, his children gather around him, hoping to discover the location of the millions he amassed during his brutal regime. Meanwhile, Pinochet’s wife is having an affair, and a nun disguised as an accountant is sent by the church to assassinate him. The film premiered at the Venice Film Festival on August 31 and will be released worldwide on Netflix on September 15.
Larraín explains that the idea of portraying Pinochet as a vampire came from the fact that Pinochet had never been portrayed before in film or TV. This lack of representation intrigued the director, and he felt it was time to put a camera right in front of Pinochet and delve into his character. The choice to cast legendary Chilean actor Jaime Vadell as Pinochet was also significant. Vadell, whom Larraín considers a master in his craft, was 87 at the time of filming, making the decision to portray Pinochet sooner rather than later necessary. Larraín also felt that the time was finally right to film Pinochet, as his figure still looms large in Chilean culture due to his death occurring in complete impunity.
Larraín draws inspiration from Stanley Kubrick’s “Dr. Strangelove” in balancing the dark humor of the film with the real-life evils perpetrated by Pinochet. He explains that satire and farce provide a necessary distance from the characters, preventing the audience from feeling empathy towards them, which would be immoral and dangerous.
In recent years, Larraín has tackled world-historical figures such as Jackie Kennedy and Princess Diana. However, engaging with Pinochet, a figure much closer to his home turf and personal cultural memory, was a different experience for the director. Larraín says that the films he has made in Chile are closer to his own idiosyncrasies and perceptions of politics and culture. Some of these films can even trigger nightmares due to their proximity, while films about more universal figures like Jackie Kennedy and Princess Diana tend to evoke different types of dreams.
The cinematography and visual aesthetic of “El Conde” also play a vital role in the film’s storytelling. Larraín praises cinematographer Ed Lachman as a master and explains that Lachman’s ability to create visually universal images was crucial. The black-and-white cinematography, combined with the film’s Gothic and political themes, allows Larraín to craft a unique visual experience that references other movies while remaining a stand-alone work.
The set design of the film, particularly the dilapidated rural estate, adds to the peculiar but timeless atmosphere. The production designer created a reality that feels out of time by removing modern elements and choosing specific set pieces. Larraín notes that the actors’ lack of rehearsal added to the affecting and moody nature of the physical environment, creating a sense of uncertainty and unsettledness that suited the film’s tone.
One recurring humorous element in the film is the vampires making blood and heart smoothies with a blender. Larraín simply describes it as a joke, leaving it open to interpretation.
Overall, “El Conde” is an audacious and visually striking film that takes on the controversial figure of Pinochet. Larraín’s decision to portray Pinochet as a vampire in a Gothic satire allows him to explore the lasting impact of Pinochet’s reign and the impunity with which he operated. With stunning cinematography and meticulous set design, Larraín creates a distinct visual world that enhances the storytelling. “El Conde” is a bold and thought-provoking addition to Larraín’s filmography and a compelling exploration of a dark chapter in Chile’s history.