If you’d asked me pre-fest what film I was definitely not anticipating then I surely would have answered Pablo Larrain’s No. I walked out of the Chilean director’s Post Mortem last year after falling asleep and awaking during a slobbery sex scene that made me admit defeat. I had no desire in returning to that well, especially with No hailed as the third and concluding chapter in Larrain’s Pinochet satire trilogy. Why then did I go and see it after all? Well, put that down to festival fatigue and accidentally going to the wrong cinema! I was supposed to be seeing something else, but I’m almost glad I made the mistake, as I may not have ever discovered No. This is still very much a harsh indictment of Pinochet and his rule, but Larrain has substituted the icy-veined harshness of his earlier films and replaced it with a celebratory, robust, truly cinematic sensibility.