Cate Blanchett gives an Oscar nominated performance as Lydia Tar, an *EGOT winning composer and conductor who is starting to spiral in real time. Written and directed by Todd Field,the film is an intense and claustrophobic study of genius, identity, cancel culture and the corrosive effects of social media.
The camera acts effectively as a stalker here, following Tar’s every move, so watching feels voyeuristic. To say it’s somewhat uncomfortable is like saying Stravinsky made complex music.
Tar is first seen in a lengthy interview at a concert hall. What follows is a woman struggling to reconcile a complex private life, along with accusations that she has exploited orchestra members for personal gain. She’s certainly a flawed woman, terse and exacting, but my personal take is there are deep-seated issues lying dormant in her psyche, and her need for perfectionism is what’s driving her insane. You would swear she wasn’t a fictional character.
There are auditory hallucinations and disturbing dreams infused with symbolism all the way through. Her partner Sharon, a German violinist and her assistant Francesca (Nina Hoss and Noemie Merlant, both superb in their respective supporting roles) are beginning to despair as rumours and reputation around Tar become toxic.
What’s so wonderful is it’s all left to the viewer to unpack what’s really going on. Fantasy and reality blur and by the end, you’re left nearly as exhausted as the troubled protagonist. Blanchett lost to Michelle Yeah at the Oscars, but what a well deserved plaudit. She’s incredible. It is slightly too long, but a brilliant character study, and compelling psychological nightmare, nonetheless.The music is equally wonderful too. Pretty amazing really.
*Emmy, Grammy, Oscar and Tony awad winner.
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