A masterclass of style and innovative storytelling, and the great festival success story of the year, Miguel Gomes’ Tabu took it’s unconventional meditation to breakout success. A film of two halves; one a tale told in the now, of lost love and the death of a specific period in the colourful history of Portugal, Gomes’ home land and setting of the film, while the second half delved further in to the source of the aforementioned love lost, with a segment shot in 16mm and sans diegetic dialogue. It plays out in a manner akin to an abstract version of Michel Hazanavicius’ The Artist, and in it’s wake leaves similar questions posed on the future of the medium posed.
While Our Beloved Month Of August, the 2008 feature that preceded Tabu hinted that Gomes was a major talent on the rise, this latest feature remains 2012’s greatest discovery for Hope Lies at 24 Frames Per Second. It’s also the film that has inspired our favourite interpretation of 2012, with Gomes’ film a great analogy for the fight between film and digital (with film and digital being our debate of choice for much of 2012).
Read our review here.
Selected criticism on Tabu – Cinema Scope A Few Crazy Thoughts On Tabu.