Tár (2022)
Set in the international world of classical music, the film centers on Lydia Tár. widely considered one of the greatest living composer/conductors and first-ever female chief conductor of a major German orchestra.
Cast and Information
Directed By: Todd Field
Written By: Todd Field
Starring: Mark Strong, Cate Blanchett, Julian Glover, Allan Corduner, Nina Hoss, Noémie Merlant, Sydney Lemmon, Lucie Pohl, Zethphan D. Smith-Gneist, Sophie Kauer, Mila Bogojevic
Country: USA
Where to Stream
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Tár belongs to 20 collections
1. Academy Award - Oscar - Best Picture and Nominees (collaborative: moderated by smviper00 - 44 stars)
2. AAA: Empire's five star movies (collaborative: moderated by KasperL - 24 stars)
3. Musician / Composer (collaborative: moderated by djross - 6 stars)
4. Best by different standards (public: sesito71 - 6 stars)
5. National Society of Film Critics: Best Film (collaborative: moderated by CCLZA - 4 stars)
6. Los Angeles Film Critics Association: Best Film (collaborative: moderated by CCLZA - 4 stars)
7. Oscar Nominations 2023 (public: BeeDub - 4 stars)
8. New York Film Critics Circle Award for Best Film (collaborative: moderated by CCLZA - 3 stars)
9. 0: On My Radar (public: KasperL - 3 stars)
10. National Society of Film Critics: Best Actress (collaborative: moderated by CCLZA)
11. Venice Film Festival: Volpi Cup for Best Actress (collaborative: moderated by CCLZA)
12. New York Film Critics Circle Award for Best Actress (collaborative: moderated by CCLZA)
13. Los Angeles Film Critics Association Award for Best Actress (collaborative: moderated by CCLZA)
14. 80th Golden Globe Nominees (2022) (collaborative: moderated by elhenzo)
15. Like Stories of Old: Best Movies of 2022 (collaborative: moderated by BeeDub)
16. To See (public: Unsaintly)
17. seen in 2022 (public: sproost)
18. İzlenecek 2022 Filmleri (public: Ozancan)
19. top 20 loved 2022 (public: bzymus)
20. Films Watched 2023 (public: knoroz)
Browse the full list of collections
| Stars | User | Rating | |
| 5 |  |
schnofel | 15 3rd |
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Field’s style is of the art-house maestro, dissecting the world’s arrogance through a virtually plotless coldness. Only the second layer reveals a character that is both overdetermined and vague, held together by Blanchett’s histrionic act that would be more at home in a psycho-horror film. She can’t even do an interview like a human - each gesture is an exclamation mark of self-conscious haughtiness. Is the film then an extended joke on her? A satire on modernity trying to achieve meaning?
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| 5 |  |
JLFM | 83 87th |
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Todd Field is doing some really daring stuff here and I was thrilled by all of it. It's a fabulously nuanced meditation on cancel culture (both as it pertains currently and how we approach it retrospectively for figures of the past); it asks the right questions, raises intriguing points, and gives absolutely no answers. And Cate Blanchett is fantastic in a very tricky lead role that brilliantly captures the essence of the difficult, problematic, but engrossing genius.
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| 4 |  |
krf7 | 90 86th |
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I watched the trailer before I saw this, and immediately googled Tar to see who the real person was like and how close Blanchett came to her. Was legit shocked to see she wasn't real. Then I watched the movie knowing she wasn't real -- and I'm not easily susceptible -- and I still ended that movie thinking she was a real person. This was a towering performance from Blanchett. Will be studied and referenced for decades. And if you pay attention to the credits, she actually conducted!
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| 4 |  |
Leonardis | 96 91st |
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Some pretty masterful cinema in my opinion. I’m still a bit perplexed about some of the imagery, but that’ll make rewatches all the better. Blanchett is reliably stellar and the script, for me anyway, dug just deep enough in to everything it wanted to say and present. It’s so beautifully made and acted that I can’t not recommend it. Also, Hildur Guðnadóttir‘s score was legitimately amazing. Don’t listen to the reception. Approach it as blindly as possible. Excellent character piece.
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| 3 |  |
JakeAesthete | 97 97th |
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Lydia bb go on Red Scare!
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| 3 |  |
deaddilly | 90 94th |
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hire this guy to make the Kanye movie
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| 2 |  |
KasperL | 90 97th |
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Both Blanchett's titular role and her performance are powerful in this phenomenal character piece. Despite remarkable economy and precision Field's movie is as slippery as a well-oiled eel, turning from satire to nuanced examination of #metoo cancel culture until it crescendos in a nightmarish final act that makes subsequent viewings even more rewarding. I love that Field, like Bach (at least according to Tár), knows that it's the questions that engage us. We want to come to our own conclusions.
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| 2 |  |
Bown | 90 92nd |
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A wickedly funny examination of power, unchecked behaviour, and the insane level of pretentious nonsense in the classical music world. Blanchett gives one of her best performances ever, which is really saying something, and the examination of our current social climate is fair and thoughtful. It’s all backed up by an excellent score and perfect framing. Immediately on the short list for best of the decade.
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| 2 |  |
thatyoungm | 90 84th |
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This is a slow burn, but so masterfully done and incredibly acted by Cate Blanchett. The film is a fascinating investigation of the power that comes with fame, but done in such a slowly building way that by the final act, you wouldn't believe Lydia Tar isn't a real person. Presented bluntly and raising some often frustrating questions about fame and assumption, Tar is a powerful and unflinching portrait that should be well in the Oscar mix this year.
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| 2 | Zangin | 67 51st |
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Blanchett's performance definitely deserves the awards buzz and this film does make for a compelling character study. Still, I don't know that there's anything much here beyond the study of the fictional Lydia Tár. Is there anything novel here being said about cancel culture, about exploitative power dynamics, about queer identity, about music, or about the artistic process?
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| 1 |  |
Zarkon | 90 89th |
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Kind of unfair just how good Blanchett is, and how Field is able to come back from a 15 year hiatus and knock it out of the park.
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| 1 |  |
frederic_g54 | 6 35th |
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I'm clearly in the minority here but as a fan of Little Children, Field may have his taken his deliberate, rigid style too far beyond the point of naturalness and spontaneity. Blanchett's acting is a direct result of said approach, a clearly rehearsed, overly methodical performance that pales in comparison to her past roles. It also telegraphs its obvious point too early on only to verbalise it explicitly an hour later. Watch The Assistant instead.
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| 1 |  |
Neonman | 88 88th |
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Not exactly what I was expecting, and even the maddening aspects of the film still intrigue me. Working both as a condensed story for music's rather long history, and as an entertaining modern spectacle, this shows a most intriguing characterisation that took me by surprise at many levels, all pretty damn well performed by Blanchett and co. A rewatch would probably make the funnier levels of the movie stand out more.
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| 1 | sellis | 73 43rd |
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Unfortunately the script doesn’t live up to the quality of Blanchett’s performance and the strikingly beautiful cinematography. Disappointing overall. Haneke has done this type of film better several times, and even a Jonathan Glazer would have given it more punch. Ironically, I think its biggest flaw is not achieving its own creative intentions.
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| 1 |  |
VinegarBob | 80 79th |
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Cate Blanchett is on fire in this biography of a disagreeable orchestra conductor who bullies her pupils, lies to her partner and betrays her colleagues in her single minded pursuit of her artistic goals. It's compellingly directed, with Blanchett in every scene, the camera relentlessly following her every move, so we become complicit in her actions, and as difficult as she can be it's hard not to root for her. The acutely observed commentary on gender and political correctness is also spot on
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| 1 |  |
stuie299 | 80 61st |
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An interesting character study, with an excellent lead performance by Cate Blanchett that pretty much carries the entire movie. The beginning can be a little slow, and I can see some finding it dry. The dialogue is rather heady in places with all of the music terminology. But just stick with it. Blanchett's performance really is worth it, and things do pick up once they start adding in more conflict. It's certainly not for everyone, but fans of Blanchett should definitely check this out.
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| 1 |  |
glumpy_99 | 88 78th |
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A quiet stunner in many respects, especially thanks to a galvanising, possibly career-best performance by Blanchett, completely embodying the prickly but brilliant Tár, and acting as perfect focus point for a pensive, deliberately paced examination of “cancel culture” and various abuses of power, especially in the arts. Makes its points with a daring grace and subtlety, while refusing to vilify its central character. Probably needs a second viewing to properly bed in.
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| 1 | ericambler | 87 92nd |
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TÁR is many things: a towering star vehicle, an operatic tragedy, a thought-provoking examination of power dynamics, a Rorschach test on cultural toxicity. But damn if it doesn't hit like a Hitchcockian thriller set in the rarefied world of European music snobs.
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| 1 |  |
christof | 84 70th |
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Blanchett gives a taught and angular performance exploring power dynamics on both sides of a generational free-speech-me-too-cancel-culture divide. Is it any good? not sure...it is certain to annoy professional musicians (Marin Alsop) in the same way "Whiplash" did (Adam Neeley). *spoiler* The final payoff describing the worst possible punishment (conducting game soundtrack performances) is legitimately hilarious!
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| 1 |  |
jacobclark12 | 97 96th |
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Upon rewatch, so much of Tár comes into sharp focus. It transforms from good to truly great, adding layer upon layer upon layer to it’s already rich subtext. Todd Field has crafted a masterpiece that allows the viewer to sink their teeth deep into the psyche of powerful people who do not care one bit who they must cast aside like garbage to maintain status. Cate Blanchett gives the performance of the year as Lydia, able to progressively show us cracks in her façade as the film moves along.
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| 1 |  |
Yoshinaruto | 70 71st |
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Excellent performance from Blanchett, and I enjoyed Todd Fields’ direction. The score is pretty much perfect (though the choice for the credits was pretty odd). The deliberate pacing and long runtime will make this unwatchable for a lot of people, but surprisingly didn’t bother me. Probably not a common criticism, but I found the student Max to be a really on the nose stereotype that would fit better in a show like Family Guy than he did in a film like this. Recommended, but not for casuals.
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| 1 |  |
sybarite | 70 67th |
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Delightfully nasty and messy. Amidst all the dreck on the screen these days, it’s a pleasure to see Field taking some risks, even if so many fail that they tilt the movie into bathos at the end. The biggest problem is Blanchett, who strains for effect. She can’t hold a candle against Julian Glover, or even Adam Gopnick. Still, worth watching, even just for the pantsuits.
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| 1 | doyler29 | 80 64th |
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Blanchett is really superb in this ... mostly character study, which has a few intriguing themes bubbling around. It reminded me a bit of "Whiplash", only in the sense that it considers to what extent greatness requires being driven, self-absorbed and totally inconsiderate. It's also a healthy reminder that the only thing one really needs to be an abuser of power is power. It's a complex film that I didn't fall in love with, but can't stop thinking about.
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| Average Percentile 69.05% from 429 Ratings |  |