As celebrated conductor Lydia Tár starts rehearsals for a career-defining symphony, the consequences of her past choices begin to echo in the present.
One of the most acclaimed films of 2022, Tár drew near-universal praise for Cate Blanchett's performance and Todd Field's screenplay, with critics marveling at how the film refuses to reduce its morally complex subject to a verdict. The sharpest disagreement came not over Blanchett but over Field's politics: most critics read the film's restraint as sophistication, while a dissenting voice at The New Yorker saw the same restraint as cover for conservative cultural grievance and an absence of genuine cinematic style.
“Both a superb character study and a highly persuasive piece of world building”
Justin Chang·Los Angeles Times
“Not to be hyperbolic, but it might be perfect. Todd Field has tuned his themes so brilliantly. You can't just half-watch Tár, it demands your full attention. That's the mark of good art, but it's a discipline so many contemporary films aren't willing to demand from audiences. And if you're honest with yourself, you don't just watch Tár; it watches you, too.”
Alissa Wilkinson·Vox
“It would be dead wrong, though, to consider Tár as a kind of op-ed made flesh.”
Anthony Lane·The New Yorker
“a regressive film that takes bitter aim at so-called cancel culture and lampoons so-called identity politics.”
Richard Brody·The New Yorker
“Tár marks yet another career peak for Blanchett—many are likely to argue her greatest—and a fervent reason to hope it's not sixteen more years before Field gives us another feature. It's a work of genius.”
David Rooney·The Hollywood Reporter
Drama, Music
As celebrated conductor Lydia Tár starts rehearsals for a career-defining symphony, the consequences of her past choices begin to echo in the present.
One of the most acclaimed films of 2022, Tár drew near-universal praise for Cate Blanchett's performance and Todd Field's screenplay, with critics marveling at how the film refuses to reduce its morally complex subject to a verdict. The sharpest disagreement came not over Blanchett but over Field's politics: most critics read the film's restraint as sophistication, while a dissenting voice at The New Yorker saw the same restraint as cover for conservative cultural grievance and an absence of genuine cinematic style.
“Both a superb character study and a highly persuasive piece of world building”
Justin Chang·Los Angeles Times
“Not to be hyperbolic, but it might be perfect. Todd Field has tuned his themes so brilliantly. You can't just half-watch Tár, it demands your full attention. That's the mark of good art, but it's a discipline so many contemporary films aren't willing to demand from audiences. And if you're honest with yourself, you don't just watch Tár; it watches you, too.”
Alissa Wilkinson·Vox
“It would be dead wrong, though, to consider Tár as a kind of op-ed made flesh.”
Anthony Lane·The New Yorker
“a regressive film that takes bitter aim at so-called cancel culture and lampoons so-called identity politics.”
Richard Brody·The New Yorker
“Tár marks yet another career peak for Blanchett—many are likely to argue her greatest—and a fervent reason to hope it's not sixteen more years before Field gives us another feature. It's a work of genius.”
David Rooney·The Hollywood Reporter
Drama, Music