TAR
Type: drama between music and #MeToo
Director: Todd Field. With Cate Blanchett, Nina Hoss, Noémie Merlant, Sophie Kauer, Adam Gopnick, Eliot Kaplan, Nicolas Hopchet, Sydney Lemmon
Cate Blanchett on the podium in “Tár” (photo Courtesy of Focus Features).
Enlightened by the exceptional proof of Cate Blanchettthe film delves into the ambitions and above all the determination of the conductor Lydia Tár, who has arrived at the helm of the most important German orchestra (the Berliner?) and is ready to do anything to consolidate her success.
Even his liaison with the first violinist seems dictated not only by love but also by interest (since the woman sits on the board of directors of the orchestra) just as with his assistant there is not only a working relationship.
Cate Blanchett as conductor Lydia Tár, leading Germany’s foremost orchestra (Florian Hoffmeister / Focus Features).
A house of cards that collapses when Lydia thinks she can do without both: first on social media and then in front of the law (a former student of hers committed suicide for her about-faces), the Tár’s behaviors are exposed, ruining her reputation and career.
If in the first part one is literally fascinated by a woman who seems to have neither a doubt nor a hesitation (the Juilliard lecture against “cancel culture” is a little gem), in the second part the intertwining of truth and falsehood overturns the perspective and they take it upon themselves to show everything that lies behind the hunger for success and the fascination for power.
For those who want to have confirmation of the skill of Cate Blanchett, the female Marlon Brando of the 21st century.
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