The 2022 New York Film Festival is back, and what a way to kick off my first day on the scene. While it was the first film I saw, it was the one that took the longest to write. I had to sit with Tár and marinate each exquisite moment of power and ego it had to deliver. From the subtly nuanced Nina Hoss to the explosively powerful Cate Blanchett, Tár is a film that promises a new experience every time you watch it. A powerhouse of talent in front and behind the camera, Tár is one of the best films of 2022.
There is a lot to unpack with Tár, in such a way that multiple viewings have the power to offer a variety of experiences. From pensive and meditative to egotistically powerful, Todd Field’s Tár is a film for the senses. Presented as a performance symphony, Tár encapsulates each movement flawlessly.
A Cinematic Symphony
From the very beginning, the film is focused on the music, Lydia encouraging the confidence of her singer, the music filling the theater as the credits play against a black screen. There is an anti-ego approach to the film’s opening, while reminiscent of Old Hollywood, recognizing each person who brought the film to life. The success of this film is not weighted on its conductor in Field, or even its stringed section in Blanchett and Hoss, but on each participating member of this cinematic symphony. Yet, where the anti-ego speaks to the credits, the black screen it is placed against speaks to the catalyst of demise – there is more than meets the eye.
As the film opens, audiences are meet with a rundown of all of Lydia Tár’s (Cate Blanchett) accomplishments. As the interview commences, there is control in both Lydia’s answers and the directionality of the interview overall. There is power and confidence, backed by knowledge and experience. And as viewers, we mirror the on screen audience before her, amazed at the talent and engrossed with every word she speaks. As Tár transitions from the interview stage to that of her orchestra, Lydia does not change, retaining her undeniable strength no matter where she is.
As the film continues, Tár accentuates the multifaceted avenues of her life. Her assistant Francesca (Noémie Merlant), her wife Sharon (Nina Hoss) and her orchestra’s newest cellist Olga (Sophie Kauer) weave in and out of her accomplished life, a life that seems to be reaching the epitome of success. As she prepares her orchestra for their next live recording, an interpretation Lydia is drawing from the original composer’s life and the love that surrounded him at the time, it is clear that Lydia is at the height of her game. Not only at work, but with her home life as well.
Tár has enough awareness of itself to understand that to completely frame the image of Lydia, it must completely encapsulate all that has meaning for her – and that she needs to accomplish her goals. The film is in no rush to introduce individuals or situations, giving the film an even pace to fully flesh out the idea of who Lydia Tár is, giving ample room as well for the altering of perspectives. Tár finds strength too in its ability to craft depth for its supporting characters. This is best seen in both Lydia and her wife Sharon. Lydia is explosive in her expressions and firm in her stature. He body is constantly moving to an unheard beat. Where she bursts with expression, filling every room she is in, Sharon is her contrast. Sharon has her own beat and power in her silence, as well as her subtle moves. She knows the game and how to play. Many times her show of force is through the subtly of motions, shadows from low lighting giving a deeper understanding to her ability to work behind the scenes.
Both Hoss and Blanchett are a dominating force within Tár, bolstered by a strong and well-written script from Field, they are able to induce nuanced intricacies into each of their characters. They are hard to look away from, one demanding the attention of their audience, the other undeniably captivating. And while Blanchett will deservedly dominate the upcoming Oscar predictions, as this is a career-best, Hoss delivers a performance just as worthy of the conversation.
Conclusion:
Tár has the stamina to continue the conversation through Oscar season. Not just because it is the standout film of the year, but because it has so many avenues that present themselves for discussion. Loneliness, power, ego and even a comparison to Icarus are just a few of the avenues that Tár tackles that present themselves for deep conversations within the context of the film.
If you have the chance, see Tár – it is an experience you won’t regret.
Have you seen Tár? What did you think? Let us know in the comments below!
Tár opens in theaters on October 7, 2022!
Watch Tár
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