What Is The Movie Taboo About -

is a flashback, told by the elderly Ventura to Pilar after Aurora’s death. Set in the early 1960s at the foot of an extinct volcano in Portuguese-occupied Africa (presumably Mozambique or Cape Verde), this section follows a young, passionate Aurora and the dashing, melancholic Ventura. They are neighbors and lovers, but Aurora is married to a brutish, wealthy farmer. Their affair unfolds with operatic intensity—midnight rendezvous, jungle escapes, and a final, desperate plan to flee together on a steamship named Tabu .

The central “taboo” of the film’s title is initially literal: adultery. In the conservative, dying colonial society of “Paradise,” a married woman’s open affair with her neighbor is an unspeakable scandal. Yet Gomes quickly complicates this. The real taboo is not the act of infidelity, but the act of abandoning one’s life for pure, selfish romantic passion—especially when that passion is inseparable from colonial privilege.

Miguel Gomes’s 2012 film Tabu is a work of deliberate paradox. Its title promises scandalous content, yet the film is a slow, elegant, black-and-white meditation split into two distinct chapters. To answer “what is the movie Tabu about?” requires moving beyond a simple plot summary. On its surface, the film is about a nostalgic, impossible love affair in a dying Portuguese colonial outpost. At its core, however, Tabu is about the nature of storytelling itself, the inescapable guilt of colonialism, and the way memory romanticizes—and thereby perpetuates—personal and historical violence. what is the movie taboo about

Introduction

The lovers’ “Paradise” is only possible because of the brutal system that surrounds them. Black African servants and laborers are silent, background figures—picking up laundry, serving drinks, rowing boats. Their oppression is the hidden foundation upon which the white protagonists’ emotional drama is built. The film suggests that the passionate, transgressive love between Aurora and Ventura is itself a product of colonial escape. They are not rebelling against empire; they are fleeing deeper into a private fantasy of it, a “paradise” that was always an illusion. is a flashback, told by the elderly Ventura

is set in contemporary Lisbon. It follows Aurora, an elderly, cantankerous widow, and her pious, frustrated neighbor, Pilar. Aurora’s life is one of mundane misery, gambling debts, and fantastical complaints—until her final days, when she begs Pilar to find a man named Ventura, a mysterious figure from her past. This section is grounded, neorealist, and suffused with a quiet melancholy about modern loneliness.

So, what is Tabu about? It is about a love affair, but also about an empire. It is about an elderly woman’s regret and a gambler’s tall tale. More deeply, it is a meta-cinematic inquiry into why we crave stories of forbidden passion, especially when those stories are built on foundations of silence and injustice. By splitting its narrative and bathing its colonial past in beautiful, archaic light, Miguel Gomes’s Tabu argues that the most dangerous taboo of all is the desire to remember a paradise that never existed for everyone. The film is not an endorsement of its characters’ passions, but a careful, mournful autopsy of them. Yet Gomes quickly complicates this

The film is divided into three parts. The “Prologue” introduces an unnamed explorer climbing a mountain in Africa, who encounters a dying crocodile and a woman in a trance. This surreal, silent sequence establishes themes of fate, nature, and myth.