Not to be confused with The Clan or The Tribe or The Wolfpack. Movies need better titles.

My first Pablo Larraín movie, and it’s unusual. Not sure what I was expecting, maybe more Matteo Garrone-style. Has a hazy digital look with odd white balance and sometimes grotesque wide lenses, and tells an odd story about a house of recovery/isolation for problem priests.

Father Matías arrives with an exquisite beard, but has been followed there by Sandokan, whom he used to molest as a boy. Sandokan yells in front of the house until Father Matías walks outside and kills himself.

Newcomer Father Matías:

So Father Garcia is sent from the church to investigate, and probably to shut down the house and scatter its residents. The residents seem less concerned with him than with Sandokan, who is still hanging around town, so they stage a crime to pin on him, murdering their own and their neighbors’ racing dogs. Sandokan gets beaten up by an angry mob, and Father Garcia agrees to leave the house alone if they’ll take care of poor Sandokan.

Investigator Father Garcia:

I didn’t get this ending, really, but liked the actors’ beards and the general muddled atmosphere of the thing. Obviously don’t know what to make of Larraín at this point – need to watch more of his work. I thought he was one of our beloved international festival auteurs (his current Jackie is getting raves) until discovering so many negative reviews of this one. Checking online, I see that Sicinski has turned in a four-paragraph review of the other The Club (“a Master Lock for your steering wheel”) which is confusing the Letterboxd commenters.

Nick Pinkerton:

There are doubtless those who will prefer the smoldering indignity of Spotlight, ever so slightly tinctured for flavor with self-recrimination, to the moral murkiness of The Club … Shot by Larraín’s regular cinematographer Sergio Armstrong, The Club is overlaid with a milky haze … it gives the impression of an all-permeating damp fog, a dramatis personae who are half-ghost, and a setting that is somewhere between the Chilean seaside and Purgatory.

Sandokan:

Looking up cast, Jaime Vadell must’ve played the oldest priest (nobody, including he, can remember his crimes) because he appeared in Ruiz’s Three Sad Tigers back in the 1960’s. Dog-killing ex-nun Sister Monica was Larraín regular Antonia Zegers, and dog trainer Vidal starred in and cowrote Tony Manero.

Quintín:

Larraín prefers to deal in his films with the low and middle classes, whom he strongly despises. If there’s a common thread running through his cinematographic output, it’s that the problem of contemporary Chilean society is not, as usually assumed, that it suffered a dictatorship for almost 20 years, during which time thousands of citizens were murdered, tortured, and disappeared, all kinds of censorship and repression was exerted, and people couldn’t leave their homes at night because of the curfew. No, for Larraín the true problem is that Chileans deserve their fate because they secretly liked to be humiliated and destroyed by the barbarians, as they thought that they were not strong enough to rebel against them.

The Venice Film Festival posted 70-ish short films online to commemorate their 70th anniversary. I watched them gradually over the past year. Already rounded up my favorites and least favorites – this is the rest.

Krzysztof Zanussi

Kids haul a film can containing Zanussi’s Venice prize-winning A Year of the Quiet Sun from a trash can.

Sono Sion

“Cinema’s Future is My Future” title cards. An excited man films things in a neon room. A crowd chants “seventy!”

Antonio Capuano

Green-haired teen zombies carry video cubes on subway station escalators.

Tariq Teguia

“Still, tomorrow’s cinema will be saying: someone is here.”
He has a Film Socialisme poster. Show-off.

James FrancoThe Future of Cinema

FF Coppola says he hopes filmmaking professionalism will be destroyed and regular people will be able to make them. Then some vandals trash a house and it looks like we’re watching the framing story of V/H/S. Then all goes berzerk, and Franco appears, laughing amidst the chaos.

Pablo Larraín

Camera perched atop one of those sail-surfboards looking down, piano playing a riff on “My Blue Heaven”.

Nicolás Pereda

Single shot of couple in bed playing on their phones, unseriously discussing getting married.

Wang Bing

A guy works the land, comes home to his horrible, fly-infested cave.

Kim Ki-dukMy Mother

Kim films his own mother going to the store (slowly and painfully), buying cabbage and prepping dinner for his visit.

Edgar Reitz

Franz Kafka is moved by a film, walks outside into the present-day world of everpresent video screens and advertising. Searching for the source of his quote (“Went to the movies. Wept.”) led to an interesting-looking book called Kafka Goes to the Movies.

Pablo TraperoCinema Is All Around

iPhone videos of tourists taking photos at a waterfall while Doris Day sings Que Sera Sera.

Jia Zhang-ke

People watch old movies on new screens.
Unusually commercial-looking style for Jia.

João Pedro RodriguesAllegoria Della Prudenza

Grave sites (there are multiple) for Kenji Mizoguchi in the whispering wind. Cameo appearance by the grave of Portuguese director Paulo Rocha.

Peter Ho-Sun ChanThe Future Was In Their Eyes

Photo montage of the eyes of many dead filmmakers.

Isabel Coixet

A square little film sketch with bouncy music.

Haile Gerima

He’s in an edit suite reviewing Harvest: 3000 Years. “I am incarcerated in the historical circumstances of Africa. Our cinema is a hostaged cinema.”

Atom EgoyanButterfly

He lets us see video of an Anton Corbijn gallery exhibit before deleting it from his phone. “Frankly I can’t be bothered to store more useless memories that I’ll never look at again, so I have to make some choices of what to lose.”

Hong Sang-soo50:50

Guy smokes with a stranger, tells her that his wife, sitting on a nearby bench, is terribly ill.

Celina Murga

Theater full of kids watch a movie.

Hala Alabdalla

Driving through Syria shooting through a window with a beard-n-sunglasses silhouette stuck on. Then: close-ups of eyeballs.

Pietro Marcello

Silent stock footage and clips of film equipment at work, then a Guy Debord quote.

Jan CvitkovicI Was a Child

Nice moving camera while narrator tells of when she first realized that everything is god.

Jazmín López

Camera follows a trail of discarded objects to two identically-dressed girls making out.

Amir NaderiDon’t Give Up

Aged film of dust storm on a dead sea cut with some present-day film storage room.

Alexey German Jr.5000 Days Ahead

Single travelling shot, people on a beach discussing movies of the future, personal experiences using neural transmitters, “like dreams with subtitles.”

Benoît Jacquot

Single take of a girl looking into camera.

John Akomfrah

B/W travel footage rapidly edited, closing with titles about the Boston Marathon bombing.

Shekhar Kapur

Bunch of short fragments using the white balance and focus in nonstandard ways.

Davide FerrarioLighthouse

Open-air cinema is playing Buster Keaton, shown with nice helicopter(?) shot.

Ermanno OlmiLa Moviola

So that’s what a moviola looks like. Hands and a sort of stop-motion/time-lapse ghost set it up and start it rolling.

Giuseppe Piccioni

We’re at a party, dude goes to get a drink for the girl in center of shot, and she slowly glides with the camera into the other room, audio from a climactic scene from Double Indemnity in her head, then back again.

Brillante MendozaThe Camera

A movie is being filmed, shots of people across town already enjoying it on TV, but back on set someone has run off with the camera.

Monte Hellman

Slate, couple at a cafe, he pays and leaves while she silently cries, the traffic noise dialing down, slow pull in, then “cut”.

Teresa VillaverdeAmapola

Poem recital like a horror-movie bible reading, “jackals that the jackals would despise,” blurry TV sets with close-ups of faces upon them.

Guido LombardiSensa Fine

Last shot of a film, the lead actors kiss, then won’t stop kissing.

Shirin Neshat

Scenes from October and Potemkin played with a stop-motion-looking low frame-rate.