Knowingly named after German expressionist F. W. Murnau’s Bora Bora-based classic Tabu (1931), Gomes’ acclaimed third feature film divides its time between two complementary storylines – one set in Lisbon, the other set out in the wilds of Africa. Residing in a Lisbon tower block, the eccentric Aurora (played by both Laura Soveral and Ana Moreira) lives out her twilight years with her trusted African maid Santa (Isabel Cardoso) perpetually at her side, haunting memories of the past seemingly hanging on the other.
Whilst Gomes’ Tabu is by no means a mere pastiche, one can’t help but but be taken with this unashamedly nostalgic slice of arthouse cinema. Murnau comparisons are no mere hyperbole, and whilst Michel Hazanavicius’ Oscar-winning The Artist (2011) paid homage to the kings and queens of Hollywood’s silent era, Gomes here lauds a number of past European masters – whilst putting forward a very strong case for his own future inclusion. The colonialist allure of Africa – a continent so rarely muted in monochrome, yet so eternally vivid and vibrant all the same – calls not only to the fading Aurora but also directly to the film’s audience. There is almost a sense that Henry Morton Stanley could appear at any time, uttering the immortal line: “Dr. Livingstone, I presume?” – an Africa of cinematic myth, rather than fact.
Utilising its different stocks and locations to devastating effect, Gomes creates that rare thing – an experimental arthouse effort with (in its narrative at least) genuine mainstream appeal. Sadly, there seems little danger of Tabu troubling some of the week’s larger releases, but the touch paper of fervent critical acclaim has already been lit. Say hello to your new favourite auteur.
To read our review with Tabu director Miguel Gomes, simply follow this link.
Daniel Green