‘Tár’ is a genius Cate Blanchett in a difficult film about a complicated and abusive genius; g1 already seen

[ad_1]

The actress is an Oscar favorite with a powerful performance in a story about power, hypocrisy, sexism and art. Film with six Academy Award nominations opens this Thursday (26). At first glance, “Tár” is a difficult, dense and tiring film. Even Cate Blanchett’s powerful performance, which has everything to guarantee the Australian’s third Oscar, contributes to the feeling of hopelessness and that the end is far away. With more than two and a half hours of duration, it really is. But the actress and director Todd Field’s script (“Intimate Sins”), which doesn’t underestimate the audience with easy answers throughout the fall of the genial and abusive protagonist, make every minute count. The film about a fictional conductor, which opens this Thursday (26) in Brazil with six nominations for the Hollywood Academy Award, transits through biopics, psychological suspense and drama with skill, without ever delivering exactly which genre it belongs to. In the end, after a long exposition about power relations, sexism, art and touches of hypocrisy, the work rewards the viewer with a non-judgmental and dispassionate – but equally passionate – conclusion. ‘Tár’: watch the trailer Knowing Lydia Tár The film follows Lydia Tár (Blanchett), a conductor who clearly needs no introduction. She is more than the only woman to lead one of the most respected Philharmonics in the world, the Berlin Philharmonic, but she is also one of the few people to have won the four highest awards in the United States (Emmy, Grammy, Oscar and Tony). Married to the orchestra’s first violinist (Nina Hoss) and about to release a book and record the only Mahler symphony that she lacks, the conductor begins the story at the peak of a career full of accomplishments. The protagonist’s elevated status serves to heighten the size of her inevitable downfall – and the tension is built by the uncertainty of how it will come about. Indigestible discussions In a way, Field’s direction (who got his first Oscar nomination in the category) is a reflection of Tár’s personality, with a detached look at the work, but extremely controlling. Each scene is deftly orchestrated by the filmmaker, who maintains a calculated distance from each sequence. After introducing the character with a more drawn-out beginning, the American gives some clues about her destiny, without ever appealing to easy answers or predictable conclusions – which confuses the audience several times, but increases the reward of the ending. In the hands of the director and Blanchett, Tár always remains a cold and almost infallible entity, but, at the same time, very human in his many flaws. With this, the film builds its essay on the old discussion of horrible people with incredible works and on how admiration and ego can unbalance relationships in the same way as power.

[ad_2]

Source link