Arthouse fans already know the name Pablo Larrain is one to pay attention to, thanks to “Post Mortem,” “Tony Manero,” and “No.” But even his most ardent devotees might not be prepared for “The Club,” which the Playlist’s Jessica Kiang called in no uncertain terms his finest film to date, one that’s “a gripping thriller, an incendiary social critique and a mordant moral fable” all rolled into one.
Starring Alfredo Castro, Antonia Zegers, Jaime Vadell, Alejandro Goic and Francisco Reyes and shot beautifully in Cinemascope, the story centers on five men and one woman who live together in a rundown house, and the secrets they keep cloistered. Here’s the synopsis:
A group of priests of various ages lives together with Mónica, a nun, in a house on the Chilean coast. When they are not praying and atoning for their sins, they train their greyhound for the next race. What on earth has brought them here, practically to the end of the world, where a stiff breeze constantly blows? When a new priest moves in, a man suddenly turns up at the door and starts making strong accusations about the newcomer. His voice grows louder and louder until a shot rings out. The priest has evaded the accusations by committing suicide. The church sends an investigator, but does he really intend to uncover the truth or is he merely meant to ensure that the appearance of beautiful holiness is maintained?
Little by little the film brings dark secrets to light, explores the past of these servants of God and mercilessly reveals contradictions in the Catholic Church. At least Pablo Larrain’s screenplay achieves what the church itself has failed to do, and metes out just punishment to the black sheep. In doing so, it strictly abides by the rules and rituals of Christian martyrdom.
Winning the Silver Bear at the Berlin International Film Festival earlier this year, “The Club” has been picked up by Music Box Films for U.S. release, but no date has been set. Check out the first international trailer below.
