TÁR (2022)

Todd Field, famed for directing films like “Little Children” and “In the Bedroom”, returns to Hollywood after a 15-year hiatus. While only having two feature films under his directing belt, Field delivers another masterful piece of cinema with his new film “Tár”. The actor and director brings a gripping film about cancel culture and the epic downfall of one of the world’s greatest (albeit fictional) conductors to the forefront of awards season. Cate Blanchett stars as titular conductor Lydia Tár, giving a spectacular performance in a tasteful character study.

Lydia Tár is a world-renowned musician who is currently conducting the Berlin Philharmonic orchestra as their first female chief conductor. She leads a life full of accomplishments and success and is now promoting a handful of upcoming projects including her new book ‘Tár on Tár’, and an upcoming live recording of Mahler’s Symphony no. 5 which Tár is conducting. However, Lydia’s success is interrupted when her past catches up with her when one of her ex-students, whom which Tár had a sexually transactional relationship with and allegedly groomed, kills herself. While the audience doesn’t see this relationship, they see the bond Tár has with another student of hers, Olga (Sophie Kauer), and their relationship doesn’t help to disperse suspicions the accusations Lydia is facing are true. Now met with predatory accusations, and an edited viral video of Lydia teaching at Julliard that takes her words out of context and fuels the downward spiral of her career, a spiral that sends her deep into obscurity.

Cate Blanchett is a tour de force, delivering a mesmerising performance that feels nothing short of Oscar-worthy. The decorated actor skilfully embodies the complex character of Lydia Tár, with a performance bolstered by Field’s sharp script. Nina Hoss and Noémie Merlant both give stellar supporting performances, Hoss as Lydia’s jealous wife and who’s relationship with the conductor originated as a workplace affair, and Merlant as Tár’s disgruntled assistant frustrated with her lack of a promotion from her assistant position. Both of the actresses’ performances bring out the ugly side of Lydia Tár, a side focused on self-preservation and determined for success. British-German cellist Sophie Krauer makes her acting debut in the film, delivering a strong performance opposite industry titans, while also showing off her award-winning skills as a cellist.

“Tár” marks an epic return to the big screen for Todd Field, the acclaimed director expertly crafts an intense drama that doesn’t fall flat at any point in its nearly three-hour runtime. Field manages to keep hold of the audience’s interest throughout the whole film by providing them with a complex character that just draws you in, whether that’s due to Blanchett’s performance or the fiercely manipulative character that is Lydia Tár. As well as directing the film, Field pens the script and creates something that brilliantly tackles the idea of cancel culture, while also balancing a rich character study with a look into the nature of power. While tackling the idea of power, “Tár” also dives into the power dynamics Lydia has with those around her. She’s steadfast and manipulative, which is something that seamlessly transfers over to the relationships she has, and by the time we see Lydia and Olga’s bond, we’ve seen enough of Lydia to know that the predatory allegations against her during her time with Krista may hold some truth to them.

Florian Hoffmeister (“Pachinko”) compliments the film’s muted colour palette with his crisp cinematography that beautifully captures the various locations throughout the film. Hoffmeister’s work highlights the detail in Marco Bittner Rosser’s (“Only Lovers Left Alive”) production design. Rosser creates sets that match Lydia’s style and personality to a T, while also feeling lived in and authentic. “Tár” wouldn’t be as good of a film as it is without the terrific sound, courtesy of Stephen Griffiths and his immensely talented crew. The film’s sound impressively captures the cacophony of Lydia’s orchestra, and the reoccurring sounds Lydia hears through the film, from the beeping of a neighbour’s medical equipment, to a broken metronome.

“Tár” is a sensational comeback for acclaimed director Todd Field after his 15-year hiatus. Field takes audiences on a perfectly paced trip through one woman’s epic fall from grace, brought to life by a another spectacular performance from Cate Blanchett, as she goes from world-renowned and decorated conductor to nobody. What Field does so well with the fictional conductor’s character is leaving it up to the audience to decide her fate, should they decide to feel bad for her after being stripped of her success? Or should they villainise and celebrate her downfall as a result of the allegations and the behaviour she showcases throughout the film.