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    Directed by



    90 min

    • Filipino


    Cannes IFF - Un Certain Regard

    After the Supertyphoon Haiyan, which changed the city of Tacloban in the Philippines into its horrendous state, the lives of Bebeth, Larry and Erwin intertwine. Bebeth searches for the remains of three of her children with the hope of finding a match among the DNA records of those buried at the mass grave. Larry, who lost his wife, consoles himself by joining a group of devout Catholics carrying a life size cross around the city. Erwin and his elder brother try to hide the truth about their parents’ death from their little sister. As if grieving from the loss of their loved ones was not enough, a series of events continue to test their endurance along with the rest of the people, waiting for a time to wipe those slow repugnant tears.



    Nora Aunor
    Julio Diaz
    Aaron Rivera
    Rome Mallari
    Shine Santos
    Lou Veloso
    Ruby Ruiz
    Mary Honeylyn Joy Alipio
    Odyssey «Odie» Flores
    Kats Serraon
    Diwa De Leon

    Director's Statement

    TAKLUB is a film that captures the reality of post-Haiyan situation in the city of Tacloban, Philippines, treating it like a documentary that capture actors blending-in with real people coping-up with the outcome of the devastation. The cinematography should look very real as we shot it on real locations obliterated by the strongest typhoon recorded in history. The framing should subjectively feature the vast havoc in the area and the hardships of people setting aside their emotions in order for them to live and survive once again, as if you were there.

    The production design should also look very real, using found objects in those locations. Colors are muted and not overly saturated to match the mood of the film, capturing the total ambiance of the area. Even though this film is treated like a documentary, editing should seamlessly hook objects and emotions from one scene to another, and tell a story, just like a feature film. Furthermore, the treatment of the musical score should not only enhance or exudes emotions from a scene but tell a story in itself as music is a major part of the survivors’ coping mechanism from their loss.

    Right after the devastation of Typhoon Haiyan, there were producers that offered me to do a film about it. I was hesitant because I felt that filming the survivors at their lowest would just be exploitative and will make the film all about their suffering and therefore compromising my real intention as a filmmaker. What I am after is to show the unique qualities of Filipinos and their resiliency to move forward despite the tragedy and to tell their stories truthfully. These existential stories of coping-up and moving-on, of people who suffered a detrimental loss and trying to get-by are universal. It happens, or at least happened, to all of us.

    However, we anchor specifically on Tacloban City and its people, to show their unique way of coping; of holding on to something, whether their faith in their God, their love for one another or perhaps, the hope that their love ones are still alive or at least, officially counted in the statistics of those who died in the tragedy. The film represents three characters: a mother who lost her children, a husband who lost his wife and a son who lost his parents; paying my homage to the victims and survivors of the typhoon.



    An engaging drama.

    Clarence Tsui, The Hollywood Reporter

    An intimate yet detached portrait of survivors of Typhoon Yolanda.

    Maggie Lee, Variety

    Brillante Mendoza

    Brillante Mendoza


    Born in the Philippines in 1960, Brillante Mendoza is one of the leading authors in new Filipino cinema. After completing his studies at the University of Santo Tomas in Manila, and beginning his career in the field of advertising, he made his debut in cinema, inaugurating an extremely prolific filmography and soon becoming a leading protagonist of international film festivals. His debut film THE MASSEUR (2005) won the video competition prize at the Festival of Locarno. His next film SUMMER HEAT (2006) was screened in the Extra section of the Rome Film Festival, and MANORO (2006) won the CinemAvvenire award at the Torino Film Festival. In 2007 he was in Cannes for the screening of FOSTER CHILD in the Quinzaine des Réalisateurs section, in 2008 for SERVICE and in 2009 with THE EXECUTION OF P, for which he won the award for Best Director. The Berlin Film Festival welcomed him in 2007 for SLINGSHOT, presented in the Forum section, and in 2012 for CAPTIVE. In 2015 he screened at Cannes IFF again with his film TAKLUB and again in 2016 with MA' ROSA, where it was nominated for the Palme d'Or.

    Selected Filmography