Synopsis
The film, set in the international world of classical music, centers on Lydia Tár, widely considered one of the greatest living composer/conductors and first-ever female chief conductor of a major German orchestra.
2022 Directed by Todd Field
The film, set in the international world of classical music, centers on Lydia Tár, widely considered one of the greatest living composer/conductors and first-ever female chief conductor of a major German orchestra.
Cate Blanchett Nina Hoss Noémie Merlant Sophie Kauer Julian Glover Mark Strong Sylvia Flote Mila Bogojevic Allan Corduner Fabian Dirr Vincent Riotta Sam Douglas Lucie Pohl Vivian Full Lee Sellars Ed White Christoph Tomanek Frank Röth André Röhner Jessica Hansen Murali Perumal Sydney Lemmon Dorothea Plans Casal Jan Wolf Peter Hering Artjom Gilz Marie-Lou Sellem Marie-Anne Fliegel Jasmine Leung Show All…
Cate Blanchett Marcus Loges Nigel Wooll Uwe Schott Phil Hunt Compton Ross David L. Schiff Stephen Kelliher
Todd Field Tilman Büttner Ralph Kaechele Florian Emmerich Isabelle Arnold Daniel Bishop Benjamin Treplin Thitinun Lerdkijsakul
Jean-François Ferland Thierry Fournier Māris Āboliņš Andris Pakalns Jessica Francoeur-Ducharme Bryan Hsu Ben Stonehouse Emilien Lazaron Valérie Dugas Charles Richer Jonathan Brayer Jake Nelson Rufus Blackwell Joss Brindle Marie-Océane Courtois Julien Delorme Derina Doorley Adam Fenwick Nick John Peter Nemec Davide Pascolo Richard Payne Laura Smith Nick Tanner Rory Whittle
Volkhart Buff Jan Böhme Janine Theisen Georg Ebinal Felix Koch Eric Ford Joshua Domnick Matthias Schmidt Delfine Buff
Kai Lüde Roland Winke Steve Single Matis Rei Barnaby Smyth Andy Shelley Stephen Griffiths Deb Adair Mathias Schuster Keith Partridge Stuart Bagshaw Tom Jenkins
Morag Ross Annett Schulze Dorothea Wiedermann Emily Ansel Ines Ransch Doreen Kindler Tanja Adams Katja Melches Stephanie Hanf Na Dear Tarawan
Tár, ทาร์, TAR, 塔爾, Тар, Tar, TAR 타르, 塔尔, TÁR塔爾, טאר המנצחת, TAR/ター, تار, TÁR
just wonderful. one of the most subtly crafted and specific films i have seen in a while. you don’t sit through this thing expecting the camerawork to be so exquisite and masterful for how slow and talk-y it mostly is. love when a movie grips me but still sends me on a scavenger hunt of articles when it’s over! absolutely worth the incredibly confusing crowd response– pretentious, knowing cackles and guffaws through the first two acts made me feel like i somehow snuck into an all-composer screening. someone tried to get a big clap goin during the julliard scene. would’ve killed to see their face at the end
To give a hint at what's special about TÁR you needn't look further than the opening credits. The opening credits start backwards with members of the crew that generally are at the very end of the end credits, like catering and production units and assistant editors. This is a movie about how an ego can grow too big and turn to manipulation when one role gets too much credit in a collaborative field. An orchestra is like a film set, and most collaborators get shoved to the back of a program or the end of the film credits. While this adds to the movie's run time up front, it's a fitting gesture for the movie you're about to watch.
Discussions…
I can't believe the only thing any of you seem to want to talk about is the Juilliard scene when this has possibly the funniest ending i've ever seen to a movie that otherwise presents itself as having loftier, more pretentious ambitions. Was totally blindsided by it because I was sold a very different movie. Can't wait to watch all that early ambiguity and mystery about public image vs. private abuse/transgression, about power, ego, art, industry, etc again knowing that this is meant to be funny and that that is what Field ultimately has in mind for her spectacled “obliteration” in the face of an all-seeing God. Just brutal lol.
I also love that it sets it up only to…