Poetry, voice over orgasms and photography - the three step flow of this film. Gomes builds a very grown up cinema, getting a lot of work done in 2 hours. Every scene is delightful, and every second you get deeper and deeper on his jungle dream. Tabu is a dreamy work of cinema as a form of art.
I love Tabu. It seems like it has been joyfully jerry-rigged to represent all that is most wonderful in contemporary cinema. It is supremely global, though two key influences also have a Portuguese connection. The big one is Ruiz. But earlier Ruiz, primarily. Then, almost completely unrelated, Pedro Costa, I suspect consciously, in the first half. The split-in-two structure and use of sound also invoke Apichatpong.
A classic story told through an old lens in a technically new way. Love in a time of political unrest: the domination of Mozambique by colonialist Portugal as wrong as this youthful and careless less doomed to destroy everyone of their "friends" around them.
Tabu requires patience, but the 2nd half beautifully explores the construction of memory and identity. At times slow, but more often hypnotizing and mysterious. Gomes' film is all the more rich because of his ability to subtly capture the reverberations of Europe's colonial past. For instance, one cannot avoid the irony of Aurora telling Santa she is imprisoned by a monster. I yearned for more as the credits rolled.
Una película de una estructura propia de Gomes, sobre la fascinación por el discurso legendario, mitológico o simplemente testimonial. "Tabú" es el resultante de una serie de reminiscencias, algunas reales sobre sueños frustrados, otras producto de la ilusión o la alucinación. El cambio abrupto de una trama cambiante es lo atractivo del filme. De una leyenda a una benefactora, y, finalmente, a una historia de amor.