Tár Review: A Show-Stopping Cate Blanchett Powerhouse

With awards season fast approaching Nick Clement brings us his Tár review. 

Renowned musician Lydia Tár is days away from recording the symphony that will elevate her career. When all elements seem to conspire against her, Lydia’s adopted daughter Petra becomes an integral emotional support for her struggling mother.

Displaying an elegant sense of formal craftsmanship as well as an underlying interest in the psychological ramifications of a swiftly-moving society that’s become dominated by social media histrionics and quick-to-judge cancel culture, Todd Field’s deeply probing drama, Tar, features the formidable Cate Blanchett in a show-stopping performance (are there any other types for this brilliant actress?) that again redefines how we look at her as a performer, with the slow burn narrative commenting on the ultimate role of the artist within the prism of classical music – chiefly – a world renowned conductor who may or may not be taking advantage of her exalted position on the world’s stage.

The icy visual compositions are straight out of Kubrick’s atmospherically cerebral playbook, while the persistence of vision that the narrative displays – we’re exclusively in Blanchett’s constantly-spinning headspace for the entire time – allows for an organic quality to take hold over the dense story, which peels back thematic layers the way a plastic surgeon peels back skin during a face-lift.

Field’s disdain for millennial/zoomer culture is noticeable all throughout and can be pointedly felt in key spots, while his laceration of those who flex their power-struggle muscles is razor sharp; this is the ultimate “have your cake and eat it too” drama, and from the very beginning where Field treats the viewer to the end credits right at the start, you know you’re in for something bold and ballsy and different.

There’s an elliptical quality to the storytelling that will certainly frustrate some viewers who demand that their art and entertainment specifically spell out every last beat and moment, but for those who like to be challenged and stimulated simultaneously, this carefully considered motion picture will be your cup of tea.

The final scene is utterly priceless. Tech contributions are all sterling across the board, with special attention on Monika Willi’s brilliant editing.

Tár review by Nick Clement