The Club

Four prests and a nun live in a small house in a Chilean village. They have been dismissed by The Catholic Church. Placed there to atone for their sins. Their past is buried deep within many layers of denial. These servants of God have a unique ability to rationalize and justify the crimes they are «quarantined» for. The village is blissfully unaware of their background. These ex-clerics answer only to their own consciences and each other. Their existence is monotonous and rule-bound, but it's basically a comfortable life, not unlike retirement. Or should we call it a purgatory?

This existence turns upside-down when a new priest arrives at the house. He is frayed and refuses to elaborate on his background. But the past has caught up with him – in physical form. One of his former victims shows up outside of the house. The man is loud and clearly unstable. He does not intend to remain silent about the abuse he has suffered.

The uncomfortable visit triggers a series of events where the structure of the house is put under the spotlight. A representative of The Catholic Church intervenes, and we realize that the church own several such houses. Dirty laundry in scattered «collectives» in rural areas. But this new arrival is a strict servant of God who responds to a superior power, and whom is willing to go very far to repair the church's reputation.

El Club won this year's Silver Bear Grand Jury Prize at the Berlin Film Festival, and not without reason. The film quivers with discomfort. It's obvious that director Pablo Larrain has a bone to pick with The Catholic Church and its pious servants. It's also a film that exhibits great self-control. There is a pent-up rage here, a smoldering fire that never errupts completely.
With exquisite wide shots of the picturesque countryside, and wonderful subtle acting performances, there rests a kind of frustrated peace throughout the film. However, this frozen condition is the result of a long lasting injustice, and as such, it must be broken. Something needs to happen. These sins needs a light to shine upon them.

Pablo Larrain (b. 1976) from Santiago in Chile is a director known for the «Pinochet trilogy»; Tony Manero (2008) Post Mortem (2010) and No (2012). Post Mortem was nominated for the Golden Lion in Venice, No was nominated for an Oscar and won first prize in the Directors' Fortnight in Cannes. El Club (2015) received the Silver Bear in Berlin.

Artist talk: Pablo Larraín

Film: No
Time: October 16, 16 o'clock.
Location: Victoria 3
In connection with the screening there will be an introduction by the director Pablo Larraín.

Film: El Club
Time: October 16, 18:00 o'clock.
Location: Filmens hus
In connection with the screening there will be a conversation between the director and Thor Joachim Haga of Montages.

Film: No
Time: October 17, 13:30 o'clock.
Location: Victoria 4
In connection with the screening there will be an introduction by the director Pablo Larraín.