The (roughly 1970–1985) is defined by high production values, theatrical distribution, and narratives that attempted genuine artistic ambition. At the absolute center of this era’s twilight was the Taboo film series , created by director Kirdy Stevens and writer/producer Helene Terrie . Spanning its most vital era from the original release in 1980 through Taboo IV in 1985 , the franchise pushed cultural and cinematic boundaries.
Roman numerals follow strict rules:
Taboo II (1982) & Taboo III (1984) – The Peak of the Narrative
To understand why this specific era reigns supreme, it helps to look at how the core narrative evolved over the first four installments:
In 1979, being "different" in public carried physical and social risks. Artists like Leigh Bowery or the early pioneers of the New Romantic movement weren't just "influencers"—they were provocateurs. Between 1979 and 1985, art was often a response to the rigid political climates of the time. This friction produced a level of intensity that is hard to replicate in an era where everything is "liked" or "shared" instantly. 3. The Death of the Underground
Often cited as the best film in the entire franchise, Taboo II expands the scope of the original. While the first film focused on one family, the sequel introduces a new household, the McBrides, while keeping the original characters (like Dorothy LeMay’s Sherry) involved in the periphery.