Over the past 16 years, cinephiles have wondered when Todd Field would direct his next film. With his first two films, In The Bedroom and Little Children, Field established himself as one of the finest directors working today. However, with that long of a wait, it would be difficult not to speculate what kind of subject matter would engross the filmmaker to return. That question was answered when it was revealed Field would be returning with TÁR, a film starring two-time Academy Award winner Cate Blanchett, Noémie Merlant, and Nina Hoss, and scored by one of the most exciting composers working today, Academy Award winner Hildur Guðnadóttir.
With a star-studded line-up, its debut at the 60th New York Film Festival was one of my most anticipated. However, after the credits rolled, the only thing that came to mind was a historic Major League Baseball stat line. There have been 23 perfect games in MLB history, and Cate Blanchett delivers her perfect cinematic game in Todd Field’s TÁR. A hypnotic and fascinating deconstruction of a power-hungry and egotistical icon.
TÁR follows respected composer Lydia Tár, whose career has been classified as one of the all-time greats, during an opening sequence consisting of an interview highlighting her career, including Tár becoming the first ever chief conductor of a significant German orchestra. As the film progresses, cinephiles enter the world of a narcissist who under appreciates her partner Sharon and assistant Francesca. To Lydia, they are more of a nuisance than helpful, so when any advice or suggestions come Lydia’s way, she brushes it aside. Unfortunately, that leads to a downturn in Lydia’s career that questions her legacy and where her career may ultimately turn.
Todd Field’s screenplay is a nuanced character deconstruction unseen before. Unfortunately, Field’s script often feels like cinephiles are treated to a psychological horror film rather than a drama. Yet, despite its 2-hour 38-minute run time, Field’s direction and screenplay keep the film’s pacing and momentum undeterred. As the film progresses, it’s hard not to be engrossed by Lydia, and whether or not she is a good person or not is left to the viewer to decide. These choices lead TÁR to become a cinematic exercise in the best way possible. An exercise of self-thought and one’s moral compass.
Every beat of this film worked wonders for me, but Cate Blanchett’s career-best performance stands at the forefront. Dare I not be a prisoner of the moment in my description of Blanchett, but she is nothing short of masterful. Balancing the complexity of Lydia’s “on-screen” persona with her relationships is delicious to digest. Blanchett takes what may come off as mundane and adds layered tensions where every conversation feels important and warranted.
Blanchett’s commitment can not be understated as the Oscar winner learned how to speak German and conduct a full orchestra. Her physicality conducting rehearsals throughout the film is spellbinding. Along with the complexity of Lydia’s world, Blanchett offers hilarity throughout, highlighted by her takedown of a Julliard student and cancel culture. Could the Lead Actress race at the Oscars be over in October? It very well is.
While the film is undoubtedly the Cate Blanchett show, Noémie Merlant and Nina Hoss should not be ignored. Noémie Merlant takes what could often be seen as a thankless throwaway assistant role and adds a layered take that shows Francesca’s frustrations with Lydia. Still, her desire to be a part of her inner circle keeps her from jumping ship. Likewise, Nina Hoss is quite good, and some of the most impactful moments in the film fall on Hoss’s eyes as she offers her displeasure with Lydia without uttering a word.
Guðnadóttir’s impact on the film is immense as she not only provides the film’s score but assists Blanchett in the concepts of her rehearsal scenes in the movie. A work that could lead both Guðnadóttir and Blanchett to a Grammy nomination in 2023. Along with Guðnadóttir’s score, Florian Hoffmeister’s lens is marvelous, as his cinematography impeccably captures the darkness in Lydia’s life.
TÁR is a film that confirms a few hypotheses. Yes, Cate Blanchett is one, if not the best, working actress today. Yes, Todd Field is an exceptional writer and director. But, most importantly, Todd Field should not wait another 16 years before making his next film. It’s one of the best films of the year and one of the most critical character studies you’ll see this year.
