Miguel Gomes' TabuClearly I am late to the party but there seems to be something very special happening right now in Portuguese cinema. I already recently got on the bandwagon for Manoel de Oliveira and now I am starting to see what this Gomes guy is all about. If Tabu is any indication, he might be one of the most gifted and bold filmmakers at work. Visually it is absolutely rapturous cinema, using modern black-and-white like the killer poetic weapon it can be when in the right hands (think Wenders' work with Muller or Dead Man, again Muller). And Gomes' style, in addition to his visual approach, is as free-wheeling and exciting as Godard can be in his most effective moments. Gomes jumps all around chronologically, mixes silent cinema with voiceover and uses music and nature as well as the great Swiss one. I can't wait to see more of Gomes' work. He's exactly the type of filmmaker, in its current isolationist cinema culture, Americans are losing out on by not having more readily available.
Hong Sang-soo's Right Now, Wrong Then
Hong's latest outing once again treads familiar territory - a doppelganger narrative, a filmmaker as main character and plenty of scenes of eating and drinking. This installment especially benefits from Hong's ability to capture so many of those awkward but charged emotions we have all experienced during the early stages of courting. And the way the second narrative remixes the events that have come before has Hong working at the absolute height of his skill.
Terrence Davies' The Deep Blue Sea
Jeffrey Dupre and Maro Chermayeff''s Soundbreaking