Pablo Larraín has rather made a name for himself. He hasn’t even hit his forties yet, and the Chilean filmmaker has already made four features which resonated with audiences globally, their tales of powers large and small and the struggle to overcome them, felt by anyone in any country. His latest, The Club, is smaller in scale than the nation-sweeping ambition of No, but trust Larraín to keep the ideological scope huge.

Beginning innocently enough, we’re introduced to a small group of…
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