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El Conde

El Conde

2023
Comedy
Horror
1h 50m
Augusto Pinochet never died, rather he is a vampire who after 250 years decides to die due to his complicated family situation and the dishonor of his figure. (Wikipedia)
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El Conde

2023
Comedy
Horror
1h 50m
Your probable score
Avg Percentile 41.86% from 140 total ratings

Ratings & Reviews

(140)
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Rated 25 Sep 2023
36
23rd
(WHAT WE COUP IN THE SHADOWS)
Rated 22 Sep 2023
45
34th
Imagination has been expended to liven up the theme that dictators from four or five decades ago can be understood as vampires feeding on the blood of the people, and the use of Purcell and Vivaldi early on gives hope that a mood at least will be sustained. Nevertheless, despite the diversions offered by the rather interesting character of the nun/accountant played by Luchsinger (who seems undoubtedly to have been hired because of her physical resemblance to Falconetti), the satire wears thin.
Rated 22 Sep 2023
6
35th
narration in fiction is never a good idea, a flying jeanne d'arc with fangs is.
Rated 23 Sep 2023
61
42nd
I'm sure I'm missing a lot of references. But this feels like a Fletcher Memorial Home of dictator comedies; admirable for its honest anger filtered through the very dark humour of having those who got away with it brag... no, not even brag, just be completely unsurprised that they got away with it because that's how the world works; but not the song you put on repeat. It's slow, with neither very distinct plotting nor character work, and the central joke good but too static.
Rated 13 Oct 2023
70
53rd
I understood little of this - beyond the obvious metaphor that fascist tyrants are vampiric, and their policies never quite seem to die - but I appreciated a lot of it all the same: the design and cinematography are excellent, moments (such as the flight sequence) almost seem to skip past purpose to meaning, and nothing can beat the absolutely hilarious mother reveal (which I jokingly predicted early on).
Rated 26 Sep 2023
61
34th
Quanto ódio ao final desse filme, passei o filme todo achando uma sátira brilhante, mas extremamente incomodada com a falta de menção do governo estadunidense na parte que cabe ao latifúndio do Pinochet, quando a Margaret Tatcher apareceu fiquei na esperança que o Strigoi se revelasse o Ronald Reagan ou o Henry Kissinger, mas nada. Só porque empresas americanas pagam os boletos do Larraín, ele simplesmente se mostra putinha dos americanos. Que ódio. MKO
Rated 28 Jan 2024
55
34th
The cinematography and hook should make this way more fun than it is. It seems to not really work as a crazy satire using vampire lore, and neither as an genuine appraisal of the way that Pinochet wrecked his country. Especially compared to the masterpiece Azor, a film that raised the bar on depicting South American kleptocratism extremely high. The tone here is sometimes too didactic, other times more knowledge of the subject seems required. A wonderful visual style however, oscar nom deserved
Rated 31 Jan 2024
62
28th
Beautifully shot and with a great premise, Larrin's comment on Chilean politics of the 70s and 80s is a bit ethereal. Often both funny and brutal, the idea probably doesn't have enough juice to sustain a feature length film in a totally satisfying way. Still, I applaud the uniqueness of this.
Rated 06 Jan 2024
54
60th
My Chilean history has some, ahem, holes in it, so I didn't know anything about the backstory coming in. And it's not necessary, the themes shine through. This inspired oddity is quite a twist on the typical vampire yarn. It loses its way here and there, and left me itching for the movie to somehow go even further with its premise. But it's a fun ride.
Rated 04 Feb 2024
72
51st
Not quite What We Do in the Shadows, but a good effort nevertheless. Funny, pretty, original.
Rated 25 Feb 2024
50
13th
The story about how an even intruiging as boundless tale changes into a colorless Spanisch sitcom with vampirestuff.
Rated 10 Mar 2024
69
35th
Treading carefully to avoid spoilers, but fascinating how Larraín pulls a last minute switch to tie this back to his series of portraits of female political players of the 20th Century (and I knew that voice was familiar, but I couldn’t place it!) Overall feels like a neat idea slightly bungled in the execution, with some nicely acerbic comedy marrying well with Lachman’s stark and chilly cinematography, but weighed down by a lot of clunkily wordy dialogue scenes which break the spell.

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