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Jan 02, 2013 By John Oursler Web Exclusive

Shot in sumptuous black and white, Portuguese filmmaker Miguel Gomes’ new film, Tabu, is a delight to the visceral senses and to the mind. The film opens with a short prologue where a narrator (Gomes himself) waxes philosophical about love and life in the jungles of Africa. It’s clear the stage is set for something of a love affair, but the unique location and black and white photography foreshadows a mysterious ride to come.

Told in two parts, the film opens with a trio of women living in Lisbon; Pilar, a well-meaning if somewhat sad middle-aged single woman; Aurora, her wise but at times difficult and needy octogenarian neighbor; and Santa, Aurora’s laconic and relatively indifferent live-in housemaid. Most of the action in the first part of the film arises from Aurora’s unsettling histrionics towards Santa (whom she frequently calls a voodoo practicing witch) and Pilar’s inability to find purpose upon retirement. The three women are concurrently unrelated yet entirely relatable to one another, establishing a mysterious rhythm to the film that is wholly unique.

The second chapter focuses exclusively on Aurora’s youth in Africa, where her marriage to a wealthy landowner and subsequent love-affair with a mutual friend provide explication on her character. But the film never overtly explains who these people are, instead leaving it up to the viewer to connect the dots. And while there are ultimately few loose ends, there is an inescapable feeling that something hypnotically mysterious has just occurred, simultaneously transparent yet opaque.

Gomes’ sense of style feels exciting throughout when it could have bordered on frivolous. As a result he has created one of the best films of 2012, and established himself as one of the most exciting new filmmakers to watch. (www.adoptfilms.net/tabu)

Author rating: 8.5/10