by director/co-writer Pablo Larraín
I attended a Catholic school. There, I got to know three kinds of priests. The first kind are those who are good people, who understand the path to sainthood, respectable and remarkable people. Another kind are those who today are in jail or undergoing a judicial process. The third type are the priests who no one knows where they are because the church is hiding them. These last ones are The Club. The Lost Priests Club.
To me, it seemed narratively interesting to tell the story of a group of priests whom we know have committed crimes or sins, yet we don’t know what they did, whether they’re dangerous or not, and what it is that they want. This is a film about redemption, purging and victims.
The priests are purging their sins in this retirement home because the church doesn’t believe in civil justice: to them, the only way of purging sins is before God. This excuse has been used to systematically commit atrocities that have been hidden by the Catholic Church. I have always been disturbed by the destiny of these priests who have been pulled out of circulation by the church itself, in absolute secrecy and divested from the public eye.
However, the film doesn’t attempt to denounce; there is no journalism within it. That is left to the media outlets. It’s very interesting to see the relationship between the press and the church, the fear that the media and public opinion produces for the church.
The Club tells a universal and contemporary story, which allows the film to connect with a large audience. The film doesn’t give a moral perception of the world; I wanted to create an open idea that has an aesthetic perception of humanity. This idea needs an audience to make a conclusion, which will always be different, because every one of us is different. I just try to open things, so it’s the audience that actually closes it.