Videophiled: The Blood of ‘Byzantium,’ the Dreams of ‘Tabu’

Byzantium
The timing of Byzantium (IFC, Blu-ray, DVD, Digital, VOD), arriving two days before Halloween, is not coincidence, but Neil Jordan’s take on the vampire genre (from a play by Moira Buffin) is not a traditional horror film. There is blood, of course, and there is sex, but it’s less eros and more survival here, with Clara (Gemma Arterton) walking the streets (on in this case, the boardwalk of a British coastal town in the off-season) to pay the bills for herself and her daughter Eleanor (Saoirse Ronan), an eternal sensitive teen pouring out her soul in unread letters cast to the wind. It’s a Gothic tale with a twist of conspiracy and a radically different take on vampirism as ancient earth force tightly controlled by a male cabal who treat the transformation like a patriarchal right. Only men can birth eternals and Clara has broken the covenant by giving immortality to her dying daughter. Which makes her a target.

Jordan keeps returning to themes of fairy tale and myth and Byzantium is rich with metaphor and sexual politics, almost overwhelmingly so. Set in a seedy coastal town, where Clara has dragged Eleanor after escaping an assassin, and peppered with flashbacks to a life of degradation at the hands of a British officer (a proudly debauched Jonny Lee Miller), it plays with tropes of the female vampire as icy seductress. Clara is more of a tigress protecting her cub from a hunting party of male predators and her victims are, for the most part, predators in their own right while Eleanor, locked in transition from girl to woman for a couple of centuries, is the eternal innocent who only feeds on the willing like a melancholy angel of death. Clara’s feeding can get a bit messy but Eleanor takes only by consent and leaves them in a state of peace.

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Tabu
Miguel Gomes’ Tabu (Kino Lorber, DVD), not to be confused with Murnau classic, almost defies description. It’s a film split in two parts, the first half set in present-day Lisbon where middle-aged Pilar (Teresa Madruga) falls into a routine that includes checking in on her elderly, deteriorating upstairs neighbor, Aurora (Laura Soveral). She calls for a Mr. Ventura as she dies and, as he tells Pilar the story of their past in colonial Africa of the early 1960s, “Paradise Lost” shifts back to “Paradise,” a dream-like remembrance told in voice-over. There no dialogue in this impressionistic recall of a lugubrious life out of time where days run into months without a change in routines or even weather, but ambient sound (and a soundtrack including Portuguese takes on Phil Spector music) adds to the spell this poetic picture casts.

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