![]() ![]() ![]() The film has, for obvious if frustrating reasons, been primarily received as a psychodrama about “cancel culture” or “the culture wars.” Most of these analyses rest upon a pivotal scene in which Tár teaches a “master class” at the prestigious Juilliard School. When the extent of her misconduct is revealed, Tár’s punishment is swift: she can’t see her wife or child, she loses her job, she loses her luxurious home(s), and she loses her status. Lydia Tár (Cate Blanchett), the first female chief conductor of the Berlin Philharmonic with an almost impossibly illustrious career behind her, has knowingly committed harmful acts-she is a sexual predator and has abused her position of influence-and her downfall, painful to watch, is precipitated by a growing recklessness, a refusal to heed the warnings the audience can clearly interpret as signs of a coming storm. Tár, the third film from writer and director Todd Field, is a fictional biopic structured like a Greek tragedy: here we have a character of prestigious rank and fortune, brought down by something within themselves. ![]()
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