Tabu

After sterilely establishing a set of sociological effects, wherein moments of personal literary expositions and devout religious expressions firmly respond to an extroverted eccentricity, capriciously gloating in the ether, following a solemn sentimental allegory, Miguel Gomes's Tabu imprioritizes their structural causes, by soberly elucidating their passionate progenitors.

Tabu's dimensions are difficult to define because it obliquely plays with narrative conventions with a jocose leavened degree of cohesive disparity, as if to say, "based upon certain doctrinalized expectations, there are specific aspects which we must include, even if throughout the process of their inclusion, we have found ways to romantically mistrust them."

I highly doubt they would have expressed themselves in such terms.

Sterile's the wrong word to be using. The film's anything but sterile. Yet it coyly employs a pervasive intermittently poppy sterility to slyly postulate its poetic position, as if it's trying to sustain sundry spontaneous combustions, like a ravenous crocodile.

By imprioritizing the structural causes, Tabu laments the ways in which events solidify points of view, as epitomized by Santa (Isabel Muñoz Cardoso) and Aurora's (Laura Soveral, Ana Moreira) relations, as Santa asserts herself.

Although I'm basing this point on a supposition drawn from a character's memory and then applied externally (by me) to a nondescript incidental circumstance (act II).

There's much more to it than that, if that even applies.

So worth seeing.