![]() ![]() We soon discover they’re pedophiles after a drunk man shows up at the home and belligerently berates one of the newest inductees into this “club” of repenting sinners, describing the sexual abuse he faced as a boy in vivid and repulsive detail. Each of the men have sinful pasts and secrets to hide. The film is about a group of priests, banished by the church to a sort of holy halfway home. Where No was invested in people, The Club takes on a very heavy topic with a level of disdain that left me feeling cold. Unfortunately, this film was entirely different, not just in style, but in its relationship to its subject matter, its characters, the world. I was keen on this one as his last film, No (2012), was superb (I recall the mysterious Celluloid Liberation Front wrote on it for us from Cannes). You and I went to see the press screening of Chilean director Pablo Larraín’s new film, The Club. How silly is it that, as cinephiles, our happiness is so bound up with the films we watch? My mood fluctuates at festivals, often based on what film I watched last. Balikbayan #1 Memories of Overdevelopment Redux III ![]()
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