This films objective is so clear that amidst all the struggles this part of the region of our country the Philippines face every year, there’s no other alternative but just to go on with life in its course without any kind of assurance from the corrupt government wishing that some kind of long term solution that may at least lessen major things that may come its way for the latter years. Not to mention the post traumatic stressed that an individual may have be it on the elder or younger ones.
Direk Brillante’s attacked to this problem was so Intelligently motivated that it does not used any political agenda yet gives more emphasis on the problems the country is facing every rainy season. Thus prompting those big and known nations to help the victims in this kind of situations .
During the interview held at his own Cafe business with his partner Chef Allan Garcia called FILMFEST CAFE, which is one of his first venture to the food and beverage industry making it more relevant to his craft naming it to the closest event he had in his professional life.
An ensemble piece set amidst survivors of a real-life deadly typhoon which devastated vast swathes of the Philippines in November 2013, Taklub offers engaging drama about individuals strugging to mourn lost loved ones and rebuild their normal lives at the same time. Driven by yet another remarkably restrained turn from Philippine cinema grand dame Nora Aunor – here reteaming with Mendoza after her award-winning turn in Thy Womb – Taklub could very well head onwards for a long festival run after its premiere at the Un Certain Regard section at Cannes.
While visible injuries like gashed foreheads and broken legs abound, it’s the psychological scars which hit the hardest. By shunning straightforward melodramatic exposition of all the varied tragic back stories, Mendoza and screenwriter Honeylyn Joy Alipio allow their characters to slowly and gently reveal their anguish and pain.
It’s only through her unused mugs with children’s photos and her partaking in a DNA test that one speculates snack bar proprietor Bebeth (Aunor) of having lost all her children but one (Shine Santos) during the disaster; similarly, it’s through his battle with bureaucrats that we learn of young fisherman Erwin (Aaron Rivera) and his two siblings of having lost their parents. Making up this collective of anguished souls is Larry (Julio Diaz), a tricycle driver coming to terms with the death of her wife through religious zeal, and Renato (Lou Veloso), the pensioner who lost his whole family in the fire at the beginning of the film.
