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Tabu (2012/I)
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Overview
User Rating:
Your Rating:
Director:
Writers:
Release Date:
5 April 2012 (Portugal)
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Plot:
A restless retired woman teams up with her deceased neighbor's maid to seek out a man who has a secret connection to her past life as a farm owner at the foothill of Mount Tabu in Africa. | Add synopsis »
Awards:
6 wins
&
8 nominations
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NewsDesk:
(84 articles)
Aussie box-office gets the staggers
(From IF.com.au. 20 May 2013, 7:21 PM, PDT)
Cannes Reveals International Critics' Week Lineup; 'Ain't Them Bodies Saints' Makes the Cut
(From Indiewire. 22 April 2013, 7:32 AM, PDT)
Cannes: Critics’ Week Unveils Lineup
(From The Hollywood Reporter. 21 April 2013, 1:13 PM, PDT)
(From IF.com.au. 20 May 2013, 7:21 PM, PDT)
Cannes Reveals International Critics' Week Lineup; 'Ain't Them Bodies Saints' Makes the Cut
(From Indiewire. 22 April 2013, 7:32 AM, PDT)
Cannes: Critics’ Week Unveils Lineup
(From The Hollywood Reporter. 21 April 2013, 1:13 PM, PDT)
User Reviews:
Tabu
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Cast
(in credits order)
Directed by | |||
| Miguel Gomes | |||
Writing credits | ||
| Miguel Gomes | and | |
| Mariana Ricardo | ||
Produced by | |||
| Maren Ade | .... | co-producer | |
| Sandro Aguilar | .... | producer | |
| Alexander Bohr | .... | commissioning editor: ZDF/Arte | |
| Jonas Dornbach | .... | co-producer | |
| Caio Gullane | .... | co-producer | |
| Fabiano Gullane | .... | co-producer | |
| Janine Jackowski | .... | co-producer | |
| Thomas Ordonneau | .... | co-producer | |
| Georg Steinert | .... | commissioning editor: Arte | |
| Luís Urbano | .... | producer | |
Cinematography by | |||
| Rui Poças | |||
Film Editing by | |||
| Telmo Churro | |||
| Miguel Gomes | |||
Production Design by | |||
| Bruno Duarte | |||
Art Direction by | |||
| Silke Fischer | |||
Costume Design by | |||
| Silvia Grabowski | |||
Production Management | |||
| Joaquim Carvalho | .... | production manager | |
| Joana Vaz da Silva | .... | unit manager | |
Second Unit Director or Assistant Director | |||
| Bruno Lourenço | .... | first assistant director | |
Art Department | |||
| Cypress Cook | .... | assistant production designer | |
Sound Department | |||
| António Lopes | .... | sound editor | |
| Miguel Martins | .... | sound mixer | |
| Vladan Nedeljkov | .... | foley recordist | |
| Vasco Pimentel | .... | sound recordist | |
| Aleksandra Stojanovic | .... | foley artist | |
Visual Effects by | |||
| Ronney Afortu | .... | colorist | |
| Thomas Diesselhorst | .... | titles | |
| Dirk Frischmuth | .... | film recording engineer | |
| Frank Hellmann | .... | digital intermediate supervisor | |
| Markus 'Maggi' Selchow | .... | digital compositor | |
Camera and Electrical Department | |||
| Joaquim Antunes | .... | gaffer | |
| Tiago Augusto | .... | video assist operator | |
| José Carlos Loureiro | .... | grip | |
| Lisa Persson | .... | first assistant camera | |
| Soraia Rego | .... | second assistant camera | |
Editorial Department | |||
| Pedro Fernandes Duarte | .... | editing assistant | |
Other crew | |||
| Rita Cabral | .... | production secretary | |
| Telmo Churro | .... | script supervisor | |
| Beatriz Cifu | .... | international production coordinator | |
| Nádia Correia | .... | production assistant | |
| Thomas Diesselhorst | .... | scan operator | |
| Wolfgang W. Werner | .... | publicist | |
Production Companies
- O Som e a Fúria
- Komplizen Film (co-production)
- Gullane Filmes
- Shellac Sud
- ZDF/Arte (in association with)
- Radiotelevisão Portuguesa (RTP) (in association with)
- Adopt Films (2012) (USA) (theatrical) (subtitled)
- Continental Film (2013) (Slovenia) (theatrical)
- Espace Sarou (2013) (Japan) (theatrical)
- Palace Films (2013) (Australia) (theatrical)
- Seven Films - Spentzos Film (2013) (Greece) (theatrical)
- Shellac Distribution (2012) (France) (theatrical)
- Zeta Films (2013) (Argentina) (theatrical)
- Abordar - Casa de Películas (2013) (Spain) (all media)
- O Som e a Fúria - Produção Audiovisual (2012) (Portugal) (all media)
- Agência Nacional do Cinema (ANCINE) funding
- Centre National du Cinéma et de L'image Animée (CNC) funding
- Filmförderung Hamburg Schleswig-Holstein funding
Additional Details
Also Known As:
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Parents Guide:
Runtime:
118 min | Taiwan:110 min
Language:
Color:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Certification:
Filming Locations:
Company:
Did You Know?
Goofs:
Anachronisms: In a scene that takes place in the late-sixties or early-seventies, an extra is wearing a shirt with the inscription "Samsung Mobile".See more »
Movie Connections:
References Crocodile Dundee (1986)See more »
FAQ
This FAQ is empty. Add the first question.See more (12 total) »
Message Boards
Discuss this movie with other users on IMDb message board for Tabu (2012) See more »Recommendations
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Portugal section |
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A KVIFF viewing, the third feature-length work from Portuguese director Miguel Gomes, which was among the contenders for the Golden Bear in Berlin earlier this year, and wound up winning the FIPRESCI Prize and Alfred Bauer Award.
The film is entirely in Black & White, which has a deceiving anachronism effect and injects an appeasing vigor to enliven the storyline. With being equally divided into two parts, the first half is the contemporary story between a middle-aged woman, Pillar and her senior neighbor Aurora (who is live alone with her black servant Santa, and strongly believes her estranged daughter and Santa are plotting against her); the second half is completely B&W silent, with an elaborate voice-over from Aurora's former lover Ventura, revealing a secret history about he and Aurora's love affair back in Africa half an century ago. It is a distinctively interesting composition, which contributes a pleasant illusion that we were watching a double-feature.
But by comparison, the first part is more austere and compelling while the second part is basically about a superfluously hackneyed liaison between a married woman and a romantic womanizer, the only worthiness is that it is between two white people in Africa, and if one intends to get some in-depth probe about the continent and its people, the film could hardly suffices this curiosity.
Between the female correlation in the first part, Pilar has a manifest momentum to propel the storyline, and ruefully there will not be a third paragraph to recount her story out of the lightly over-hyped second part, her story behind might own more worth to be revisited and explored. Teresa Madruga and Laura Soveral are spellbinding during their screen time, if only the second half could be reinterpreted in another way, the film could have been a fabulous essay about love, aging and mystery behind everyone's usual representation.