Tár [2022]

 The meticulous precision and magisterial aplomb with which Todd Field composed, constructed and crafted Tár – the punctiliously calibrated and orchestrated narrative progression that built towards dramatic crescendos, separated by controlled contrapuntal stretches, and laced with stunning exactitude, rigorous formalism and subtle tonal shifts – mirrored the self-assured brilliance and performative flair of the “maestro” who occupied its dark and compelling core. It began with its complex anti-heroine Lydia Tár (Cate Blanchett) at the apogee of her prowess – she’s a globally renowned conductor at the Berlin Philharmonic with a jaw-dropping curriculum vitae; her rockstar popularity and luxurious, globe-trotting lifestyle complement her artistic genius and intellectual heft; and she’s on the verge of scaling her final peak – and then proceeded to chronicle her stunning unravelling brought upon by allegations of misconduct and abuse of power, precipitated by the suicide of a former student at the exclusive foundation for aspiring female conductors that she’s co-founded, and exacerbated by damning videos made viral on social media. The film’s central discourse revolved around ‘cancel culture’, difficulty of separating art from the artist and hubris; Tár, however, is neither a monster nor a martyr – rather, a deeply flawed person – and a gay woman who’s heroically succeeded in a bastion of patriarchy, thus subverting any easy analyses. The masterclass that she holds at the prestigious Juilliard School – shot almost entirely in breathtaking single take – was a masterclass in acting and camerawork too. Blanchett’s ferocious, spellbinding performance – marked by an extraordinary verisimilitude and edgy undercurrents that she brought in – found commendable support from Nina Hoss as her wife and concertmaster, Noémie Merlant as her assistant and protégé, and Sophie Kauer as a Russian prodigy who catches her fancy.

Director: Todd Field

Genre: Drama/Psychological Drama/Musical

Language: English

Country: USA