3.5 Always will prefer Murnau to many other directors, so read this cautiously. Layers to the narrative never seem to reach beyond their conceit. When part 2 begins, the film really opens up, suddenly directs the lens with some purpose. The ambition is truly remarkable and the style just on the closing page of postmodernity. Maybe we'll see a revival (and improvement) of the voiceover, silent film tropes.
Glad to have seen this. The acting is a bit stilted throughout. Perhaps that is due to the controlled directorial style. Sometimes I wonder if more energy goes into the getting the shots than directing who is in them. These are BEAUTIFUL shots though. Would have been lovely to see on a big screen and not on my laptop! Definitely slow starting, but glad I got through the second part. Very well constructed, overall!
A little slow to begin with and I don't really feel as if all of the supporting characters are fleshed out or given their due -- of course they are but window dressing for the scintillating, sexy and stylish story of amour fou that occupies the second half. Miguel Gomes is a director I plan on keeping track of.....
Una película con un trasfondo sentimental muy divertido de explorar. Unos personajes que de primera parecen secos y sin embargo con forme avanza la historia descubres todo lo que traen consigo. Tiene un bien manejo de la iluminación y del blanco y negro. En su mayoría las tomas son generales y planos medios, los close up son meramente para entrar en contacto con el personaje, su sentir y su situación.
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.