TÁR, the cancel culture conversation piece of the year starring Cate Blanchett and Nina Hoss and directed by Todd Field

i hadn't noticed the shots with lydia lurking in the background when i watched this but yikes--they're scary!

https://compote.slate.com/images/03911a57-319b-4a5a-8f71-1c02d2e3858f.gif?crop=538%2C358%2Cx0%2Cy0&width=1600

Honestly, I buy it and I never would’ve thought Todd Field capable of even a modestly successful stylistic flourish until tecently

― عباس کیارستمی (Eric H.), Thursday, December 8, 2022 9:14 PM (twenty-eight minutes

Hence my rechristening him.

"it's mostly supernatural" also neatly accounts for Mark Strong's astounding hair

strong's agent his written "terrible syrups whenever possible" into all his contracts for years

also relevant:

Leonard Bernstein getting frustrated. pic.twitter.com/QVZ20t6qUL

— composers doing normal shit (@NormalComposers) December 9, 2022

i don't really buy the supernatural element as a full-on "explanation" of the last chunk of the movie but i appreciate it as another wrinkle. it definitely did not occur to me at all.

didn't occur to me while watching the movie, that is

theres certainly more going on than what initially meets the eye, but "supernatural" is not a word i would introduce into the conversation

how about "weird"

this film is much weirder than it initially seems, and weirder than most people realize, I think

especially if you add, "and it's by the guy who made In the Bedroom."

i mean it's repulsion if deneuve was playing a lady that could impress adam fkn gopnik, the more that was going on was only not initially meeting the eye if u like dozed off

i read it more as funny than spooky bcz the various horror interludes were very extra w/o being very effective (as horror), but i very much enjoyed the ending (seems like he's better at funny, and cate is v funny too)

this film is much weirder than it initially seems, and weirder than most people realize, I think

this was my feeling after seeing it (not that I have it figured out), and I was frustrated trying to find reviews that had a handle on it.

i read it more as funny than spooky bcz the various horror interludes were very extra w/o being very effective (as horror), but i very much enjoyed the ending (seems like he's better at funny, and cate is v funny too)

agree with this too! though was expecting something more...cathartic, as it approached the end but the way it did go was really funny/weird/interesting.

the rather oblique reference to Apocalypse Now (I think...) in the final section is really suggestive too.

Yeah, I love how thrown-away that line was

i think i’m TÁR-pilled. great movie

— b-boy bouiebaisse (@jbouie) December 10, 2022

the smarts are liking this movie

https://thefilmstage.com/the-tar-cinematic-universe-will-expand-with-new-short-film-by-todd-field/

Jár pic.twitter.com/McXnTh1IRq

— Joe Whitt (@joeobligations) December 19, 2022

wtf at that Slate piece
I felt the film could easily have been written for a male lead by the way, I can imagine a production meeting with someone saying “hey, hey, but what if Cate Blanchett??!??”

oh https://www.avclub.com/cate-blanchett-says-tar-role-originally-meant-for-a-man-1849872103

Been thinking about this quite a bit after watching it last night. The whole cast was stellar but Blanchett was knocking it out of the park. Definitely read as a sort of surrealist comedy/horror film to me; the Slate piece was striving a bit more to connect all the dots than is necessary, but all those dots are very much there. lots of ari aster vibes without the easy sadism.

tons of visual echoes: the black dog in the passageway followed by her child on all fours followed by the piano. All challenges she won't be able to overcome. If you were looking for a mini-trend piece, you could do worse than one about post-COVID imposter syndrome media, beginning here and looping in Fleischman is In Trouble.

i appreciate how entirely open to interpretation this movie is and how much it forces the viewer to work to meet it. I got in an argument a couple of nights back with a buddy who, after extolling his love for White Lotus and Triangle of Sadness and having to listen to me go on about how facile and hypocritical those pieces are, accused me of not liking satire. What i don't like is EASY satire.

Having known a few Tár-types, the verisimilitude of the hyper-erudite patter was uncanny. i am gonna have to be careful who i talk to about this irl.

Confused by that Blanchett comment bc I heard an interview with Todd Field in which he said he wrote the movie with Blanchett in mind and wouldn't have made it if she hadn't said yes.

my partner, who is a Bernstein nerd, immediately tracked Tar's beat pattern as his.

feel like a big key to the character is her rough and tumble roots. strivers know that the system must be gamed and even when we know the rules are shifting and can hear the trap closing, we are certain we'll dodge yet again. the cry in the woods while running, the metronome speeding. as a fellow sound-sensitive genius with a shoulder problem who gets up in the middle of the night to listen to the walls to see where that noise is coming from, i felt very targeted.

xpost

https://www.vanityfair.com/hollywood/2022/12/todd-field-interview-tar-theories-lyrida-egot-awards-insider

Vanity Fair: Let’s start with Lydia Tár because, when you look at social media, everyone is talking about her almost like she’s a real person. Everyone loves to analyze her. How did this character first take shape for you?

Todd Field: She kind of appeared about 10 years ago to me. I understand, in a fashion, why people do think that she’s real because she’s very real to me and has been for a long time. I wasn’t sure that I would ever be able to sort of share her with anyone because everything that I’ve been adapting for however many years has been based on underlying material, where the characters have been imagined by others. But here she is.

Vanity Fair: I was reading over the screenplay and I noticed this opening note that you put in there: “Based on the script’s page count, it would be reasonable to assume that the total running time for Tár would be well under two hours. However, this will not be a reasonable film.” And then you go on to say, “if you are mad enough to greenlight this film, be prepared for one whose necessary length represents these practical accommodations.” It sounds like you really led with the fact that you needed to have the freedom to make the story you wanted to tell. Was that ever met with any resistance?

Todd Field: Strangely, no. And I didn’t receive one script note. And as that note says, “if you’re mad enough to greenlight this film”—I’m still sort of scratching my head that, [chairman of Focus Features] Peter Kujawski and [president of production and acquisitions] Kiska Higgs were mad enough to greenlight this film and ultimately [Universal Filmed Entertainment Group chairman] Donna Langley and [NBCUniversal vice chairman] Jimmy Horowitz because who on earth would ever greenlight this film? [Laughs.]

Vanity Fair: You wrote the script for Cate Blanchett. Did it require you to chase her down in any way to get her to sign on, and would you have made this if she passed?

Todd Field: No, I wouldn’t have made it if she passed. I tried to be respectful and transparent with the studio, but the one thing that I lied about when I handed it in was immediately Kiska Higgs and Peter Kujawski said, “you must have someone in mind for this role?” And I said, “No, I have no idea.” Because I was terrified that somebody might make a call or whatever and spook her, you know? So I kind of didn’t do anything for about a month. And then my wife kind of kicked me under the table and said, “you need to quit being so sheepish. You need to call her.” And I did, and she said yes immediately. That was surprising because I think it’s a very dangerous character. I don’t think it wasn’t a sure thing. There was all kinds of reasons why she may have said no, but that speaks to who she is as an artist that she said yes.

my partner, who is a Bernstein nerd, immediately tracked Tar's beat pattern as his

Probably my favorite moment in the whole movie is when she greets by name the composer coming thru her alarm clock radio

Funniest movie moment of 2022. #Tar pic.twitter.com/jvB61ht8j4

— Ken Jones (@KenJones81) November 19, 2022

Even funnier when they include a credit for that song in the closing credits reel

lol, i was literally typing that as an xpost!

Still blows me away that Todd Field wrote himself the most original American script of the year.

And that he directed a well-directed movie

somehow never saw either in the bedroom or little children so i came into this with zero expectations on the director front. this is exemplary work but i'm hearing that's not par for his course?

itt: too much hyperbole, not enough critical analysis of the SEINFELD PUFFY SHIRT

I overstate -- In the Bedroom is a reasonably well-directed take on reprehensible material

Ugh, that word again, I don't even know what it means!

not to put too fine a point on it but as I haven't seen this comment made elsewhere: a film about a woman who ensnares people in her own "transactional" machinations of growth and then chokes them out when they prove threatening that engenders a la brea-sized quagmire of provocative discourse might be giving away its endgame in the title.

^^^^^^^^^ !!!

Are you saying it’s the pits?

i'm calling it an attraction!

incidentally, i watched Corsage tonight and that's a good follow up to Tar. Both films about what a woman is worth, how she can work within the system, how much rope she needs to weigh anchor

I think In the Bedroom is very good.

Tár : when a movie character has this much sauce, that’s the filmmakers telling you that they are unambiguously cool & that you are supposed to root for them

Just one of many 2022 highlights we celebrate in the sletter today https://t.co/wqoelSmGdk pic.twitter.com/Hu9Kc6M1Sv

— Blackbird Spyplane (@BLKBRD_Spyplane) December 27, 2022

that misread iirc is the whole angle of richard brody’s piece about it (the man does not know how to watch a movie)

I don't think In the Bedroom is remotely terrible, just "determined" in that late 20thh century American fiction way.

I mean, it was adapted from a story by Andre Dubus.

well, yeah

House of Sand and Fog was probably the darkest book I've ever read, and the film had the same kind of feel as In the Bedroom.

And I didn't realize that the story on which In the Bedroom was based was written by Andre Dubus II, not Andre Dubus III. :O

the man does not know how to watch a movie

Brody is maddeningly idiosyncratic but I would never accuse him of not knowing how to watch a movie

he occasionally sees something i don't in a film and sometimes its helpful but equally often i want to hunt him for sport

When I seen Richard Brody’s byline, my heart sinks. (Occasionally he’ll write something that’s in the realm of right on.)