Tár (2023) Dir. Todd Field

Only his third film in 20 years, Todd Field finally returns with an exploration of sexual misconduct and abuse orchestrated by a renowned conductor Lydia Tár (played by an astounding Cate Blanchett).

As the first female chief conductor of the Berlin Philharmonic, her position is seemingly secured and her powerful interviews and speeches bring attention to her own self-importance as she prepares for a performance of Mahler's Fifth Symphony.

Along the way she has relationship issues with her wife (Nina Hoss), whilst at work she discusses music, creativity and passions with her predecessor (a more than welcome return by Julian Glover as Andris Davis).

Pushing buttons along the way, the film uses its measured pace to look at teacher-pupil relationships and the overreaching abuse that can occur. Very quickly she is portrayed very much as a monster rather than a mentor.

The focused cinematography has us peeking through bookshelves and pillars to provide brief glimpses into her (hidden and exploitative) world whilst, obviously, sound plays a strong role too. But it’s not just the music – an alarm and a scream in Central Park create an auditory experience of alerts and cries for help.

One scene where she challenges a pupil on his progressive beliefs has been both criticised for being pro and anti-“woke” but the reality is that it’s an amazing scene almost in one continuous shot demonstrating the monologue talents of Blanchett as she pushes the buttons of the student and us. It’s a jaw-dropping experience.

Tár has aspects of sex and sensuality alongside its symphonies too, but there is a little bit of metronome monotony – not just as a symbol in the film – but with the film’s own glacial rhythm.

It’s certainly a critics’ fave but I can see how its slow deconstructive pace may not be playing to everyone’s beat. Although the mundane is an important part of its style, the minimalism can be challenging but is no doubt intentional. As a musician myself, the long conversations about creativity and art-versus-the-artist were fascinating but may not be universally appreciated.

Blanchett is undeniably good (hasn’t she always been) but I do have sympathy for anyone who think it’s a bit too big a believer in its own importance and grandeur. I definitely felt that too at times. That said, whilst Field’s latest can be a tough slog, those that can engage with its sometimes tiresome tempo will get symphonic satisfaction as it scrutinises the inappropriate conduct of a conductor.

★★★★

4/5

Michael Sales

Tár is available on UK home release on April 17th 2023