2011_the artist

Slightly over a year ago, after Michel Hazanavicius’s The Artist came home with a Best Picture win and accomplished the unlikely feat of becoming a $100+ million worldwide hit, observations hit the web (ranging from hopeful to snarky) speculating whether or not the critical and financial success of this film would bring about a trend of new silent filmmaking. That the film’s gimmick seemed anathema to any marketing department’s formula for success stood as a provocation to an ever recycling Hollywood, declaring: if you revisit winning formulas, why not this one? Of course, few genuinely expected such a trend to actually come to fruition.  In February 2012, David Denby wrote: “We should be happy that The Artist exists at all, of course. Even after being nominated for ten Oscars and winning numerous awards from critics’ groups and the guilds, the film still seems arbitrary—one of those freaks of idealism which sometimes occur in the movies.” Even after the seeming silent-throwback double bill of The Artist and Hugo, Denby can only imagine a silent film resurgence happening in repertory form: a new emerging interest in old classics rather than an opportunity for new filmmakers to experiment with older forms of cinematic expression. But silent cinema has made something of a soft but notable and innovative return subsequent to The Artist – it just didn’t quite happen in the way we expected. Both Miguel Gomes’s Tabu from Portugal and Pablo Berger’s Blancanieves from Spain were recognized as their respective countries’ official selections […]



A full day after watching Portuguese director Miguel Gomes’s Tabu, the film’s many moving parts have not quite yet fallen back into place during reflection. This is by no means a criticism of the film, just a statement about the ways in which this lyrical ode to cinema, colonialism, dreams, love, crocodiles, and mental illness deftly explores and incorporates a variety of styles, themes, and ideas together into a beautifully cohesive and coherent, if unlikely, whole. I’m not saying Tabu is greater than the sum of its parts, for in many ways Tabu is precisely about the ruptures that separate its various stylistic and narrative components, but rather that Tabu is a strange and hypnotizing moving image poem with no comprehensive or unifying point of comparison. Tabu is a film made through a truly unique and inspired vision and voice.

Twitter button
Facebook button
Google+ button
RSS feed

published: 01.24.2015
published: 01.24.2015
published: 01.24.2015
published: 01.23.2015

Some movie websites serve the consumer. Some serve the industry. At Film School Rejects, we serve at the pleasure of the connoisseur. We provide the best reviews, interviews and features to millions of dedicated movie fans who know what they love and love what they know. Because we, like you, simply love the art of the moving picture.
Fantastic Fest 2014
6 Filmmaking Tips: James Gunn
Got a Tip? Send it here:
Neil Miller
Managing Editor:
Scott Beggs
Associate Editors:
Rob Hunter
Kate Erbland
Christopher Campbell
All Rights Reserved © 2006-2014 Reject Media, LLC | Privacy Policy | Design & Development by Face3