Quick-Thoughts: Todd Field’s Tár

The conspiracy of evil: despotism, identity, certitude, the means surrounding such and not necessarily means that are pure in “evil”. Yet, as a byproduct of her reckless career suicide, legendary composer Lydia Tár is quickly learning what it’s like to live in a generation that wants to believe they are. What’s so interesting about Todd Field’s constantly labeled “cancel culture movie” beyond the culture that comes together to cancel one, is how he overviews why the target of them — a conductor whose entire work is built on controlling the time of others — made it her own doing for neglecting the time in which controls her, to tyrannically curtail the welfare of her human-centric foundation of power, to not stoop low for the perhaps flawed mainstream criteria that glorifies “the conspiracy of evil”, and to pick and choose what present reality modernities she would however kneel for because what good are they otherwise if they do not cater to her personal ethos? By the end though, Tár humbles herself by abstaining from this perspective and adapting more to the new world’s heart even if her own heart somewhat has it out for the old. Who’s a “robot” now?

158 minutes of cautious storytelling just to examine what it’s like for a god to overcome a shed of ego? Hell yeah. Between Tár and Memoria, this year’s been going OFF on nostalgia.

Verdict: A-

2022 Ranked

“Tár” is now playing in select theaters.

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