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Tabu

Theaters

THEATERS
OPEN DATES
US PREMIERE New York Film Festival, Film Society of Lincoln Center, Walter Reade Theatre, NY,
10/10/12
New York Film Festival, Film Society of Lincoln Center, Alice Tully Hall, NY,
10/14/12
Philadelphia Film Society/Philadelphia, PA
10/23/12
Film Forum, NY
12/26/12
Walker Art Center/Minneapolis, MN
1/11/13
Elinor Bunin Film Center/New York, NY
1/11/13
Miami Beach Cinematheque/Miami Beach, FL
1/18/13
Wexner Center for the Arts/Columbus, OH
1/18/13
Cinema Village/New York, NY
1/18/13
Cleveland Cinematheque/Cleveland, OH
1/19/13
Cinema Paradiso/Ft. Lauderdale, FL
1/19/13
UW Cinematheque/Madison, WI
1/25/13
Laemmle Playhouse/Pasadena, CA
1/25/13
Laemmle Royal/W. Los Angeles, CA
1/25/13
FilmBar/Phoenix, AZ
2/1/13
Jacob Burns Film Center/Pleasantville, NY
2/1/13
Northwest Film Forum/Seattle, WA
2/8/13
Ziema 2/Duluth, MN
2/5/13
Broadway/Salt Lake City, UT
2/15/13
Coolidge Corner/Brookline, MA
2/15/13
State/Modesto, CA
2/21/13
Art House Cinema 502/Ogden, UT
2/22/13
The Screen/Santa Fe, NM
2/22/13
Belcourt/Nashville, TN
3/1/13
Charles/Baltimore, MD
3/2/13
Film Streams, Omaha, NE
3/15/13
Amherst Cinema/Amherst, MA
3/22/13
Pickford Film Center/Bellingham, WA
3/29/13
Art/Champaign, IL
3/29/13
Cinefest/Atlanta, GA
4/1/13
Union Theatre (U. of Wisc.)/Milwaukee, WI
4/5/13
West End Cinema/Washington, DC
4/5/13
Patio Theatre/Chicago, IL
4/7/13
Berkshire Museum/Pittsfield, MA
4/19/13
Tropic Cinema/Key West, FL
4/26/13
Movies at the Museum-Portland Museum of Art/Portland, ME
5/3/13
Cable Car Cinema/Providence, RI 5/10/13
Palace/Frostburg, MD
5/17/13
Cleveland Cinematheque/Cleveland, OH
6/13/13
Boedecker Theater/Boulder, CO
6/26/13
The Ware Center/Lancaster, PA
8/12/13

 

 

 A film by Miguel Gomes

SYNOPSIS

PILAR spends her first years of retirement trying to straighten up the world and dealing with other people’s guilt, an increasingly frustrating task these days. She takes part in peace vigils, collaborates with Catholic charities, wants to lodge young Polish girls coming to Lisbon on a Taizé ecumenical meeting and constantly hangs up and takes down an ugly painting made by a friend so as not to offend his feelings should it not be in view when he comes to visit.
She is mostly troubled by her neighbor AURORA’s loneliness, a temperamental and eccentric octogenarian who escapes to the casino whenever she has any money on her. She talks constantly about her daughter who seems to not want to see her, has hangovers from anti-depressants and suspects her Cape-Verdean maid SANTA is wickedly practicing voodoo against her. We know little of Santa, who is sparse with her words, follows orders and thinks that everyone should mind their own business. She goes to adult literacy classes and practices at night by reading a young reader’s edition of Robinson Crusoe stretched out on her boss’s couch while smoking cigarettes. Before dying, Aurora will make a mysterious request and the other two join efforts to accomplish it. She wants to meet a man, GIAN LUCA VENTURA, someone nobody knew existed until then. Pilar and Santa will find that he does exist but are informed he is no longer sane. Ventura has a secret pact with Aurora and a story to tell; a story that occurred fifty years ago, shortly before the beginning of the Portuguese colonial war. It starts like this: “Aurora had a farm in Africa at the foothill of Mount Tabu…”

Nuit #1 News

Mick LaSalle
Updated 5:05 p.m., Thursday, August 9, 2012

'Nuit #1' review: Real sex, raw emotion

Drama. Starring Catherine de Léan and Dimitri Storoge. Directed by Anne Émond. In French with English subtitles. (Not rated. 91 minutes.)
Two people, who've just met in a bar, go home to his lousy apartment and proceed to have sex, and we are there watching them in "Nuit #1," a raw and explicit French-Canadian film that I must admit to having mixed feelings about. The characters are fictional, but the sex is real - as in the actors Catherine de Léan and Dimitri Storoge are really doing that - and somehow this doesn't seem like a proper use of sex to me, nor of cinema, nor of the actors, though maybe they didn't mind.
Following sex, she tries to sneak out, and then a conversation ensues, a long one. He talks about what a complete, self-destructive mess he is - long monologues - and then she talks about what an emotionally disconnected empty shell of a person she is. And they each sit there listening, because each knows he or she is no better than the other.
Here's the thing: This movie would be easy to mock as maudlin and self-important, but there's something about it that can't be dismissed. The monologues may be theatrical and presentational - director Anne Émond made this film when she was 29 and too young to be subtle.
But the characters' voices are alive; and the financial and emotional traps they're in are believable and ultimately moving. These are young lives derailed, people without hope, purpose or moral grounding. "Nuit #1" is an expression of all this and perhaps a symptom of it, too.
What's more - there's no point in denying this - somehow the monologues' effectiveness is partly tied to the fact that we see the actors put it all on the line in that first scene. It throws them into the same stewpot as the characters and raises the stakes all around.
So this is a different kind of movie, as graphic as porn, but not porn, not titillating and not unintelligent. It's committed - some new and highly disturbing version of a really good movie.
Mick LaSalle is The San Francisco Chronicle's movie critic. E-mail: mlasalle@sfchronicle.com

Link to article


 

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Max Goldberg, Dennis Harvey, and Lynn Rapoport. For rep house showtimes, see Rep Clock.

Nuit #1 Montreal director-writer Anne Émond bares more than her actor's beautiful bodies: she's eager to uncover their tenderized souls: hurt, unsavory, vulnerable, terrified, nihilistic, compulsive, and desperate. Nikolai (Dimitri Stroroge) and Clara (Catherine de Lean) are just two kids on the crowded dance floor, jumping up and down in slow motion to the tune of a torch song; before long, they're in Nikolai's shabby apartment, tearing off their clothes and making love as if their lives depended on it. But when Nikolai, laid out on his mattress on the floor like a grunge Jesus with a bad haircut, catches Clara sneaking out without saying good-bye, he sits her down for an earful of his reality. She returns the favor, revealing an unexpected double life, and the two embark on a psycho-tango that takes all night. It can seem like a long one to those impatient with the young, beautiful, and possibly damned's doubts and self-flagellation, though Émond's artful, coolly empathetic eye takes the proceedings to a higher level. She's attempting to craft a simultaneously romantic and raw-boned song of self for a generation. (1:31) Elmwood, Lumiere. (Chun)


 

The 32nd Genie Award nominations for the best in Canadian film were announced in Toronto.

The Nominees:

Best actress: Catherine de Léan, Nuit #1; Pascale Montpetit, The Girl in the White Coat; Vanessa Paradis, Café de Flore; Rachel Weisz, The Whistleblower; Michelle Williams, Take This Waltz.Myspace Layouts