Il club

In a small fishing village 4 men and 1 woman cohabitate in a house. Their greatest joy in life is training and racing a small greyhound they collectively own, and they hold ambitions of buying and training more dogs so they can make more money. But their peaceful existence is broken when a another man comes to join their ranks. He, like the other men, is fallen member of the holy order, and though they are immediately suspicious of him, they put on a brave face. It isn't long however, before a victim of this new arrival literally shows up on their doorstep, shouting about the ways in which he was victimized and refusing to go away. What happens next shakes the little club to their core and disrupts their pleasant way of life.

This is a movie about some thoroughly unpleasant people. There is no one really to root for. The men and woman seem benign at first, but as they continue to talk they expose themselves for the greedy, selfish, self-interested people they are. While they have been taken out of commission and sequestered in a house, ostensibly to do penance, they have instead carved out a cushy life for themselves, each one privately convinced that they are in actual fact good, and are locked up with a bunch of degenerates.

While the film is beautifully shot, this is a film where the strength lies in the acting and the script. While not visually graphic the film has some very graphic dialogue about the crimes of some of the priests which are about what you would expect given the history of pedophilia in the Catholic church. It's a slow burn of a movie, but the more you watch the more you will feel disturbed as the members of the club expose themselves for who they really are.

"The Club" in question is a community of disgraced priests and one nun condemned to live together in a remote coastal resort as penance for past sins, mostly involving the sexual abuse of children. After one of them blows his brains out another priest, a counsellor, is sent to investigate and to keep them in line. Pablo Larrain's extraordinary film is totally unlike any other dealing with abuse inside the Church. It plays like a thriller but is actually about social injustice and is deeply critical of the Catholic Church and I think it's a masterpiece; (it's also very explicit and very disturbing).

Larrain shoots it in Cinemascope in hues of mostly grey and brown as if we were peering through a fog, both literal and metaphorical, to see what is happening. The performances throughout are superb; you never get a sense that anyone is acting here, (it helps that none of the actors are familiar), and the use of locations is inspired. The grimness of the settings is perfectly in keeping with the theme. Far from easy viewing but absolutely essential.

Four disgraced Catholic priests and a mysterious nun live together in a house situated in a remote seaside town. Each must atone for sins of the past. Collectively they comprise the "The Club".

And they don't take kindly to guests.

Chilean Director Pablo Larraín (who also shares writing and producing credit) does masterful work here creating an unremittingly dreary and dour atmosphere right from the opening frame. Even those scenes where the sun is shining feel decidedly dim in his film.

And the overarching tone befits the performances. This is fine ensemble work from the aforementioned five principle characters. The supporting cast is equally as impressive. Together these actors deliver a common thread of acute despondency and resignation to the dire circumstances which have come to consume and define their dismal lives.

It would be an exercise in easy to dismiss, or at the very least, minimize, "The Club" as a portrait of punishing depression and abject absolution. But I will submit that it is more than merely such uncomplicated characterization.

Larraín pulls nary a punch in his raw and unsettling condemnation of an omnipotent organization which has continued to figuratively turn it's head in the face of evil transgression rather than face the sordid depravity head on and work to root out and vanquish it.

The final moments of "The Club" brings the notion of "The New Church" and the suggestion that there is perhaps systemic change afoot in institutional Catholicism. These scenes also introduce a new boarder into the house in the person of a severely scarred victim of that which has been allowed to permeate in perpetuity and practically without punity.

But what we can not know, and what Larraín clearly leaves ambiguous by intent, is this: Will "The Club" welcome their new tenant in a spirit of repentance and forgiveness? Or will they treat this interloper as they have all other unwelcome invasions of their duplicitous commune? We can only hope for the former. Still, there is little expectation that our wish will be fulfilled. For by now we have come to learn in no uncertain terms that this is a congregation whose service is certainly not in the name of God. But rather in the shame of.

"The Club" is not at all pleasant to watch. It is alarmingly disturbing, spiritually jarring and leaves you adrift in a wake of lingering despair. This is not to say that it is a bad film. For it is not. It is to maintain, nonetheless, that it is a film about bad people violating all that is sacred about the human condition. Particularly by those who have vowed to operate in a manner mirroring that of divinity much more so than mortality.

Pablo Larrain (No) returns with another story that shadows his country with 'The Club'. Before the details emerge, this story is nothing like 'No'.

'The Club' takes place in the somewhat remote coastal village of La Boca Navidad where a house of secret guests exists: they are either child molesters, baby snatchers, or were active supporters of Pinochet, and they were all Priests. They have all been excommunicated from the Catholic Church for their crimes and sent away to this house as not to harm the Church's image instead of being put in the public eye and then thrown in jail. The house is quarterbacked by a Nun who also suffered a similar fate as her house guests.

One day, a new guest comes to join The Club, only to be eventually tracked down by a former altar boy who shouted claims of constant abuse from outside the house for him to hear. Not long after, we learn that these claims are true, and the reaction sets off a further investigation into the requirement for the house and the livelihood of the guests who reside there.

'The Club' isn't an artistic work that should be shared for praise and glorified for any kind of distinction. Instead, it clearly details the horrific nature of how the Catholic Church deals with their worst offenders — by putting them in houses in rural locations, 100% funded by the Church. As the film progresses, we learn that the house mates have ways of passing the time — good and bad. Some are healthy, while others are vices. Eventually, when the house comes under inspection by the Church as to whether it should remain or not, extreme actions are taken to try and keep things intact.

While advertised as a dark comedy, this film is almost nowhere near that. It was intended to show the evil behind the Church, and that its image cannot be tarnished. In a continent that houses 40% of the world's Catholics, a film like this definitely sticks a thorn in the Church's side. It gets dark, it gets rather nasty, it gets brutal, but, while it's just a story with fictional accounts, they were created via true stories over the years.

Watch this film with the expectation that you will be shocked by what you see and hear, but hopefully you will be moved enough to know that there's evil where good supposedly resides.

This is a film from Pablo Larrain who brought us 'Tony Manero' and 'No', and is an excellent film maker. This is about a sort of retirement home for bad Priests on the coast of Chile. There four priests and one fallen nun get to live out their days away from where they can do harm to their erstwhile flocks. The crimes range from sexual abuse of children to child stealing from unmarried mothers. Then after a new incident a crisis counsellor turns up with Vatican credentials.

His job is to find out what has really taken place and see if these people are still worth the efforts of the Mother Church.

Now this is a cold film, it is also very bleak at times with many references to sexual abuses and so can be difficult in places. However, it is also powerful and does not set out to wholly condemn anyone. Everyone gets to have their say and all angles seem to be covered which makes the whole thing more real.

It is also a film that has a sense of doom and an urgency that makes you want to carry on watching it. I am a fan of Pablo Larrain and this film has only encouraged me in that endeavour – recommended.